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MUSICAL LET TERS
FROM ABROAD:
INOLUDING DETAILRD ACCOUNTfl OP THJ
BIRMINGHAM, NORWICH, AND DUSSELDORF
MUSICAL FESTIVALS OF 1852.
BY LOWELL MASON.
NEW YORK:
PUBLISHED BY MASON BROTHERS.
1854.
/VIL
tffi
Entered, according to Act of Congress, in the year ISiSS, by
MASON BROTHERS,
In the Clerk's Office of the District Court for the Southern District of
New Yoric.
STBBEOTTPKD BY PHINTBD BY
THOMAS B. SMITH. JOHN A. GRAY.
216 William Street, N. Y. 97 Cliff St N. Y.
.a
PREFACE.
^ < »
The following letters are almost exclusively on mu-
sical subjects, and they relate more particularly to the
department of church-music, or to the service of song
in religious worship. There are many persons in dif-
ferent parts of our country, who are deeply interested
in the subject of music, who are beginning to appre-
ciate its value, and who are engaged in the cause of
musical education, and especially in efforts for the im-
provement of church-music ; this is abundantly proved
by the rapid spread of music in common schools, by
the steadily growing demand for good instructors both
in the vocal and instrumental departments, by the
higher qualifications which from year to yecur are re-
quired in those who are sought for and employed as
teachers, and by the constantly-increasing number of
associations and gatherings for musical purposes, as
elementary classes, singing societies, choirs and musical
conventions.
IV PREFACE.
It was for the gratification of these persons, and es-
pecially for the satisfaction of the author's numerous
pupils and friends, that these very imperfect letters were
originally written and published in various periodicals,
and for these too they have been now collected and
printed in a more convenient and permanent form.
May they serve as a token of remembrance from the
writer, and may they in their humble way add a little
to the influence of those who, regarding music as an
object worthy of human pursuit and cultivation, are
exerting themselves for its improvement and universal
diffusion.
Cotttints»
1
-•-•-•-
LETTER I.
PAOl
llie Voyage — Buried at sea— Liyerpool— Worcester Cathedral— Choir— SU Nicholas
— Rer. Mr. Havergal— Psalmody— Organ-playing 11
LETTER 11.
A Sonday seryice at the Foundling Hospital, London— St. Martln's-in-the-Helds. ... 10
LETTER IIL
London Thursday Concerts, Exeter Hall 19
LETTER IV.
I Gewandhaus Concert — Mendelssohn— Crowded Hall— Beethoren's Symphony, No.
8— Overture by Gade SI
LETTER V.
Concert of the ** Musik-Verein^s Euterpe" — Symphony by Westmayer— Oberon —
Mile. Marie Wieck— Old and New School of Piano-forte playing S7
LETTER VI.
Gewandhaus Concert--Jullus Rietz— Harman^s new Symphony— <aierubini— Beetho-
ven— Rossini— Mendelssohn 31
LETTER VII.
Sketch of Moscheles, the celebrated Pianist 35
LETTER VIIL
Sevoiteenth Gewandhaus Concert— Ferdinand David— 61uck*s *«Iphigenie in Tan-
ride"— Madame Sontog— Central Hall Concert 41
1*
i
VI CONTENTS.
LETTER IX.
Madame Sontag— Tbe two St^es of Singing com|>ared— Mara— Gatahmi^ Wagner
— Lind— Sontag 44
LETTER X.
^^Thomasklrche'*— Charity Pupils— Order of Service— The good Organist— Essential
Qualifications 51
LETTER XI.
'Musik-Vereins Euterpe**— Glock—Cherubinl— Bach— Part Songs by men's roices
— Beethoven 57
LETTER XII.
Robert Schumann, the Ck>mposer— Clara Schumann, the Planist^Their great C!on-
oert 60
LETTER Xm.
The Ck>noert8—Gewandhau8— David— Dreyschock-Mets— Robert Schumann
—Quartet— Dupont 63
LETTER XIV.
Church of St. Nicholas— MarUn Luther— ^ngii^ by the great Ck>ngregation— Second
Service— Small attendance 66
LETTER XV.
V "Hie Cottservatoiy of Music at Leipzig, Germany 71
LETTER XVI.
"Hie nineteenth Gewandhaua C(UMsert— Robort and Clani Schumann— Madame Tno-
zek-Herrenburg of Berlin 78
LETTER XVn.
Dedication of the Music Hall of the ''Thomas SchooF— M. Hanptmann— Chorus
Singing 80
LETTER XVin.
\ Distinct Articulation in fflnging— Congregational Singing, with reference to the ut-
tering of the words 84
'
1
I'
• •
CONTENTS. VU
LETTER XIX.
St. Peter's Church— -Richter, the Organist— the Tomb of Bach— CSioralf ■ung ■!
St. Peter's 88
LETTER XX.
Ck>ncert by Oie Pupils of the Conservatory— Original Overtures by the Pupils 02
LETTER XXL
Mendelssohn and Robert Schnnuuin 99
LETTER XXIL
Berlin— Wilbelm Bach— Symphonic Concerts and Orchestral Murie— Military Mosie
—The "Tod Jesu" by Graun, the ** Passion Music" by Bach, and the ^^Seren
Words" by Haydn 97
LETTER XXin.
Easter Sunday— Music in the Catholic and Protestant Churches— The Picture Gal-
lery— John Schneider the Organist 101
LETTER XXiy.
The Dom-Kirche, or Cathedral- The Exercises ........'1.. 105
LETTER XXY.
The Service at St. Nioolai— Madame de La Grange 116
LETTER XXYL
The Leipzig Fair ISO
LETTER XXVIL
The Reformed Church— Singing— Preaching 124
LETTER XXVIII.
Churches— Royal Library— Military Bands— Church Music 196
.'
\
• ■•
VIU CONTENTS.
LETTER XXIX.
tABM
^nrietta aontas; . . ; 131
(
LETTER XXX.
^Ck>n8eryatorium der Musik** 132
LETTER XXXL
Orlando diLaaeo and GIuck—ProfesdorDduij of BerHn 135
LETTER XXXn.
j Pestalozzl — NiLgell— Church Service— Sunday School— Sacred Ckmcerts in America
^^ — Sehnyder Von Wartensee ; 137 \
LETTER XXXm.
UnlTenltx-'Ca«tI«f— Singing Conventions— Wine-caska^Duels— Jerome of Prague 140
LETTER XXXIV.
Abbe Vogler—Rinck— -Music in Schools— The Kappelmeister*s Wife and her Rose 142
LETTER XXXV.
Military Mnsto— Schnyder von Wartensee— Prof. Schindler— Schmidt, the Pianist-
Church Music— Organ Playing— Congregational Singing 146
LETTER XXXVI.
Matinee — Mozart— Bach — Elocution— Singing— IMano forte— Bonn— Beethoven's
Monument— Cologne— Aix-la<3iapelle— Don Juan— Musical .Conventions 151
LETTER XXXVII.
Church Music— Catholic— Protestant— Old Psalms— Hotel des Invalides— Concerts-
Meyerbeer— Onslow— Adam— Henrietta Sontag^ Americans— Etc. 154
LETTER XXXVm.
flinging In the Jewish Synagogue; also in the Church St Boeh 159
//,
CONTENTS. IX
LETTER XXXIX.
PAOK
Concert of the Musical Union— Church Masic— London Sacred Harmonic Society—
Opera Singers — Henrietta Sontag— Spolir 101
LETTER XL.
CararchMnsicintheCaiapeloftheBeT. Baptist W.Noel 166
• LETTER XLL
Grand If usical Fesdval at Dofloeldorf 171
LETTER XLII.
Birmingham Festival— Powers of the Musical World— The Market Place— Service
at Key. Mr. James' Church— Sermon — Choir— Organ— Tunes— Church of SL Mar-
tin's—New kind of Chanting— Bread tor ttie Poor— Wesleyan Ch^>el— Rehearsal
— Mmiey mattMS IM
LETTER XLIII.
The Birmingham FestiTal— Continued 904
LETTER XLIV.
Funeral Musical Performances— Messiah— Elijah— Smaller Musical Associations—
llie Oratorio Societies in London— Bxeto* HaU— (^igan Performance 251
LETTER XLV.
St. George's Bloomsbury— St. Paul's Cathedral— Dr. Watts' Chapel- Pickle Shop-
John Newton S56
LETTER XLVL
The Norwich Musical FestiTal S58
LETTER XLVn.
The Tisbeniacle, Moorfielda, Finsbury- Wicklil9» Chapel, Commercial Road, East 280
LETTER XLVIIL
WoraTian Churvii— Baptist Chapel, Lyon Street— Singing in Rer. Mr. Brock's Cborch S90
i
JC CONTENTS.
LETTER XLIX.
PAOK
Wealeyan Chai>el, Great Queen Street, Linculn^s Idd Fields— Rev. BaptiBt NoePs
Chapel— Lesson on Chantii^^, by G. C. Spencer— Anecdote — Stoke Newington —
Dr. Walts^s Monument and Inscription 393
LETTER L.
Sacred Harmonic Society— Samson— Christus—Spohr's Last Things 298
«
LETTER LL
St. Paulas Cathedral— Rev. Mr. Brock^s Church 300
LETTER LIL
Church Music in Hoiland— Haarlem Organ— Leyden— The Hague— Bells— Hats on
—Reading the Bible for a Voluntary 302
LETTER LIIL
Dr. Bexfleld's Lectures— English Glee and Madrigal Union — Oratorios— Sacred Har-
monic Society— Judas Maccabeeus— Concerts 305
LETTER LIV.
York- Dr. Camidgo— Roughness of Boys^ Voices— Lord Murray— Neukomm^s
Psalms— Rev. Mr. Guthrie— SL Gileses Cathedral— Choral Singing in Scotland 309
■^
\
usUd l^ttttrs.
*ii ♦ • ■
LETTER I.
The Voyage— Btutel at Sea— liverpool— Worcester Cathedral— Choir--St Nicholas—
Rey. Mr. Havergal- Paahnody— Organ Playing.
LoHDOH, Jan. 9th, 1858.
A VOYAGE across the Atlantic has been so often deseribed,
that I will not attempt any account of ours, except to say that
it was, with the exception of a day or two, a succession of
blows and gales, rough and cold. A single circumstance may
be mentioned in a death at sea. We were just rising from
the dinner-table, at about 6 o'clock, the fourth day out, when a
messenger came in to announce to the captain that one of the
passengers in the forward cabin had just^died. The captain im-
mediately went out to ascertain the &cts, and soon returned
with the infoniiation that a man had died suddenly, and appa-
rently of delirium tremens. The burial took place in an hour
afterwards. TJje Episcopal service having been read by Rev.
Dr. Robinson, who was a passenger on board, the body was
consign^ to the deep as its last resfiingrplace. Death -is al-
ways solemn, but it seemed peculiarly so at sea — in a storm,
just at night, it being already d£U*k, the wind blowing, the
ocean foaming and roaring, and the ship, though by the power
of her mighty engines steadily pursuing her way, tossiQg her©
ai]Ld there a nut-shell upon the mighty billows.
12 CATHEDRAL — CHANTING.
Eleven d&j^ and a half brought us safely to Liverpool,
"where we arrived on New Year's morning, at about 6 o'clock.
Taking a hasty look of the city, where we landed, we proceeded
the next day to the old city of Worcester, delightfully situated
on the banks of the river Severn, where we took lodgings for
the Sabbath at the " Star and Garter Hotel." This was the
last city that held out against Cromwell, and in September,
1651, the decisive* battle was here fought which established his
authority, and which destroyed the hopes of the Royalists.
The Cathedral is, of course, an object of curiosity and interest.
It is in the form of a double cross, in different styles of archi-
tecture, yet exhibiting unity or harmony of design. The
tower, about 170 feet in height, is very beautiful and grand.
There are many interesting monuments contained in different
parts of the building ; that of King John in the choir attracts,
perhaps, most attention. A full-length effigy of the King lies
on the top of the tomb. The King was buried here, (1216,)
by his own desire, in a monk's cowl, to expedite his passage
through purgatory.
We attended the daily service on Saturday, at 3 o'clock.
The prayers, litany, <fec., were all intoned or recited to the
plain diant by one of the canons of the cathedral, with the
usual responses by the choir. The psalms for the day were
chanted by the choir, consisting of sixteen or eighteen boys and
men, who also sung the canticles set in the service or anthem
form, by Dr. Nares.
The chanting was poor enough, at least, for three ^*easons :
1st. Great rapidity of utterance. 2d. No two members of the
choir kept together. 3d. The enunciation of the words was so
careless, that it was with difficulty one could keep the place and
follow the performance, even with book in hand. There was,
of course, nothing like attention to the sense of the psalms—
i
CONGREGATIONAL SINGING. 18
tibiere was no appropriate emphasis, or any more expression,
than would be given by a hand-organ or grind-stone. The
great leading object seemed to be to hurry on, and get through
as quickly as possible. One good point, however, in the chant-
ing was the absence of all drawling in the cadences. The
tones were not prolonged, but were delivered in quick suc-
cession.
On Sunday morning, at 11 o'clock, we attended divine ser-
vice in the parish church of St. Nicholas, Rev. Mr. Havergal
rector. The exercises commenced by a few measures as a vol-
imtary, or rather prelude, and the '* giving out " the tune on the
organ, after which all the congregation united in a single stanza
sung to the old tune called *' Tallis's Evening Hynm." The
hymn was not read nor named, but it appeared to be a com-
mon thing for the worship to commence in the use of a stanza
well known, always the same, and to the same tune. It was a
hearty commencement, for every one seemed to join with full
voice. The service was read by the curate. The chanting
was done by the whole congregation, and the resp<Hiding was
between the occupants of the lower floor and those of the gal-
lery — ^but the song was universal — ^men, women and children
uniting harmonious voices. The Yenite and the Te Deum
were chanted responsively ; the psalms were not chanted but,
read in the usual manner. Two metrical hymns were sung
during the service. The tunes were both of the old ecclesiasti-
cal class, and were in the same rhythmic form as St. Ann's,
York, 6ec. appear in the Cantica Laudis. The first and last
words of each line being long, and all the rest short. They
were sung by all the people, and in very quick time ; as fast as
propriety would allow the enunciation of the words. They
were sung somewhat quicker than the writer has taught this
class of tunes in musical conventions and singing classes in
14 BEV. MB. HAVEBGAL.
America. Let the tune Uxbridge, for example, be sung in
quick time, somewhat quicker than usual, and the crotchets will
give the time of the minims in the above-named class of tunes.
There were one or two organ interludes introduced in a psalm
of five stanzas; but these were very short, not more than
about two measures, or the length of the last line of a common
metre tune. *' These tunes would be popular in Am^rica^'* said
the lady who was with me, who, though not a singer, has been
accustomed for many years to give dose attention to the Psal-
mody, and to hear criticisms and remarks concerning it. And
indeed, they are as far from being dull and heavy as need be ;
I doubt not that many good people, with us, would think it al-
most irreverent to sing a hymn through with such rapidity.
Yet all the people, old and young, joined — all seemed to know
the tunes perfectly, and all kept well together.
Mr. Havei^al is himself, as is well known, much of a musi-
cal man, and an excellent composer. He has once or twice
obtained the Gresham prize medal for the best composition of
a church service or anthem ; and he is well-known by numer-
ous sacred songs, published with pianoforte accompaniment.
But it is metrical psalmody and the chant in which he is most
interested, and in which he has produced some very fine speci-
mens. He only devotes odds and ends of time to music, and
never writes music when he is able to write sermons ; but it
has been, when weary with the labors of the day, or when
travelling, that he has composed most of his popular and ex-
cellent tunes. He has many curious and valuable old books
of psalmody, and is now himself writing, as he can find time,
some historical notice of the " Old Hundredth Psalm Tune."
In the afternoon of Sunday, we again attended the cathedral
service. The officiating canon and the choir went through it
with the speed of railroad travelling, and if that is well done
t
CATHEDRAL SERVICE. 16
which is done quickly, then this was well indeed. But the idea
of worship in such a service, who would think of it, or suppose
jR>r a moment that confession, supplication, thanksgiving and
adoration, had any part or lot in the matter.
We have had opportunity to attend but one public religious
service 'n London, in the daily cathedral service at St. Paul's.
It was nearly the same as at the Worcester cathedral. The
choir is a little larger, but the same irreverent hurrying pre-
vails. The manner of treating the cadences in the chant I like,
for there is no singing, drawling style, but the tones are short
and words quickly spoken ; but with respect to the chanting in
other respects, or in general, it is all confused, inarticulate,
rapid and unsatisfectory — still it is not relatively, perhaps, much
quicker than the other parts of the service. A company of
hungry ones in a second or third-rate American hotel do not
eat their dinner in greater speed than these humble confessions
and prayers are recited.
It is quite astonishing that good people from America, min-
isters and others, should write in such glowing terms of the
cathedral music of England. It is as unfit for our purposes as
are their cathedrals, or their Church and State dependence and
connection. One does not wonder at the old Puritans, or at
their rejection of all chantings, and organ playings, and respond-
ings, and liturgies, when he sees the very great abuses of these
things here. It does not follow that they are necessarily bad
things, because we see them so much abused ; but it surely
becomes us to guard against these abuses of them, as they are
introduced into the churches of New-England.
The organ in particular, if we err not, is already sadly abused
in many of our churches. Light and silly voluntaries, long and
unmeaning interludes between the stanzas, loud accompaniment,
fimcy 8top^ and see-saw swell-^lsLjmg, and other things, call for
16 ORGAN PLAYING.
reformation. Indeed, unless the organ can be used as a simple
aid to worship, surely it had better be altogether dispensed
with.
I have omitted to mention one important point in the>]ise of
the orga% both at the parish church and at the cathedral in
Worcester. It was this, viz. : the closing voluntary, in both
cases, consisted of an introduction and fugue played in excellent
style. How noble and elevating is the fugue ; this most learned
and most interesting style of music is admirably adapted to the
organ, and no person ought to be regarded as an organist who
cannot play with a clear and distinct articulation, a strict fugue
— ^yea, even a Bach !
I will also add that both organs at Worcester (as also St.
Paul's here) were played in the true organ style, and without
the slightest tendency to the light, frivolous, overture, polka,
waltz, dance-prevailing manner so common with us. Dr.
Hodges, in New York, and the elder Hayter, in Trinity church,
Boston, are both fine specimens of well-educated English or-
ganists.
LETTER II.
A Sunday Service at the Foundling Hospital, London— St. Martins-in-the-Fields.
LoNBON, January 15, 1853.
This establishment is interesting to musical people, from the
&ct that Handel was one of its patrons, composing for it, and
performing his music for its benefit. A tablet is seen in one
of the rooms, with the amount received for several years in
succession from Oratorios given. But alas! for the music
\
I.
FOUNDLING HOSPITAL. 17
now; it is anything but church music. There are nearly
400 children, about half of each sex ; they all sit in the organ
lofl, and all sing the chants, responses, tunes, and services.
They are dressed in a neat uniform, the boys in blue, with a
white ^llar turned down, and the girls with white caps and
aprons. The organ lofl is so arranged, that by the raised seats
every one can be distinctly seen.
The service commenced by an organ voluntary ; and a lighter,
more frivolous piece of organ-playing, I never heard. It was
an attempt at a kind of extemporaneous overture with &ncy
stops, flute, oboe, <Szc., and great organ contrasts, staccato pas-
sages, sudden pianos, and fortes, and sforzandos, in little scraps
of melody, light as the lightest of Donizetti or Verdi, with-
out dignity, solemnity, character, or sense. Not a particle
of reverence about it. I have heard the organ abused before,
and degraded enough, but this was the climax of oi^an absurdity
and degradation.
In the chanting the children kept together, and there was the
entire absence of that drawling in the cadences, so common in
America. Thp notes in the cadences were very quickly sung—
very much quicker than I have been accustomed to teach them,
yet not too quick. But little attention was given to words —
they^were not properly delivered ; but the smaller words were
omitted, and many were so clipped or abridged as to be deci-
dedly coarse or vulgar, as
« Glory be t* 'he Father," Ac " As 't was 'n th' beginxuiig,*' <fce.
This was particularly observable in the monotone recitation of
the Lord's Prayer and Creed.
The Te Deum was sung in anthem form, and was well done
i e. they all kept t(^ether, pronoundng the words with the
18 CHILDREN AT DINNEB.
speed of an auctioneer, but without any attention to sense, em-
phasis, pause, and the like.
A strange psalm tune was sung. It was like an andante aHe-
gretto^ with marked time, by Haydn. Strange indeed, to hear
a hymn so sung to music so very light and inappropriate. But
it was well done, that is, they all went through it together, as
true as a &ctory wheel goes round, and with as much express-
ion and good taste.
In the place of an anthem, an extract from the Messiah was
sung. Rec. '' For behold darkness," &c. ; aria, **' The people
that walked," and the chorus '^ For unto us." The bass sonir
was well doU by a fine voice, and in quite «! ftrtbtio mann«^
The singer did himself mudbi credit inde^, but the chorus was
a failure — ^the little tilings [children] kept along and got through
with it, but no character was given to it whatever. It is not
- children's music. Children might as well be required to read
Shakspeare, as to sing Handel. They may hit the tones, but
they cannot sing the music
The oi^an accompaniment was here excellent— orchestra
style was required, and ordiestra style was played. The
staccato was boldly, cleanly, and most distinctly given. In-
deed the organ was made a most excellent substitute for an
orchestra ; and very great skill indeed was manifested by the
organist.
A very excellent and instructive sermon followed ; the whole
service occupying a little mdre than two hours.
We were now permitted to follow, or rather to precede the
children to their dining room. We took our stand in the boys'
room, and in a few minutes the two hundred little fellows
marched into the room, and took their places at the tables in
most perfect order. Four of the larger boys had clarionets in
Veir hands, and, on a signal being given, the whole company
1
CHUBGH OF ST. KABTIN8. 19
folded their hands and shut their eyes and sang a grace, aooom*
panied by the clarionets. This was the most affecting song
of the day; it was indeed much aided by sight, but the
effect was to ^' enforce tears " from many an eye. This being
oyer, the music of knives and forks was heard — and the nice
roast beef and boiled potatoes a^^ared to be gratefully, or
certainly gladly receired. We also passed through the girls'
room, and saw them at their dinner.
In the afternoon we attended dbiurch at St. MartinVin-the-
fields ; but as' this communication is already sufficiently long,
we will only speak of the organ-playing. It was in legitimate
style, and formed a striking contrast to the Foundling Hospital
organ. The true organ style was here giren ; like the organ at
St. Paul's and at Westminster Abbey, there was nothing light,
trifling, and silly, but the lofty diapasons told their story with
a dignity and a grandeur becoming the house of God. Truly
the organ is a noble instrument, but it may be awfully degraded
and sadly abused !
LETTER III.
LoDdon Thursday Coocerts, Elzeter HaU.
London, Jannary 15, 1852.
This is a series of concerts for the people, at a low charge ;
the prices being four shillings, two shillings, and one shiUing,
aocordlhg to the class of seats. They consist of vocal and
instrumental music, but without orchestra. They employ some
five or six solo performers, and a choir of about forty-five chor-
isters. Glees and madrigals are sung by the choir, and songs,
duets, &C., by the solo voicea, with piano forte pieces, violin
20 EXETEB HALL.
pieces, or other instruments as it may be convenient to obtain
for the different concerts. I attended the second of the series
on Thursday last. The lai^e Exeter Hall was full of people,
who seemed to be much delighted with the music ; indeed I
thought that there was more warmth of approval exhibited
there than we usually see at the best concerts with us. The
solo performers were Miss Pyne, Miss Louisa Pyne, Miss
Binckes, Mr. Swift, (a new tenor,) Herr Jonghmans, Mr. Cot-
ton, and Mr. Whitworth. Miss Goddard played serenade (Don
Pasquale), by Thalbei^, and also an andante and rondo capri-
sioso by Mendelssohn, on the piano forte^ and Mr. Richardson
played an air with variations on the flute. Miss Binckes has a
very fine voice, and sung to the great acceptance of the audience,
and Miss Louisa Pyne sung quite a difficult aria by Rode,
which called forth a most enthusiastic encore. The pieces for
full choir were performed without accompaniment, not even
the piano forte being played ; and although I have heard a bet-
ter chorus at home, yet this was truly good. The concert was
conducted by Mr. T, H. Severn, The programme contained
the music to the National Anthem, printed in full in four parts,
and the whole audience joined in this the closing chorus :
" God save our gracious QueeDi
Long may Viotoru reign ;
Qod save the Queen I
Send her yictorious,
Happy and glorious,
Long to reign over us,
Gk>d save the Queen I
** Lord our Gkxi arise,
Scatter her enemies.
And make them tall.
GOD SAVE THE QUEEN. 21
Confound their politics,
Frustrate their knavish tricks,
On Thee our hopes we fix,
Gk>d save us alL
** Thy choicest gifts in store
On her be pleased to pour,
Long maj she reign ;
May she defend our laws.
And ever give us cause,
To sing with heart and voice,
God save the Queen !
There is but little music in London just now : it yields to
the Christmas holidays, which are hardly over as yet. TheTQ
is to be a grand performance of Mendelssohn's hymn of Praise
and of Athalie on the 28th of January, and of Elijah on the
30th, but before that time I hope to be in Germany.
LETTER IV.
Gewandhaus Ckmcert— Mendelssohn— Crowded hall— Beethoven's Symphony No. 8 —
Overture by Gade.
Lkipsio, January 32, 185S.
I HAVK this evening had an opportunity of attending one of
the &mous subscription concerts in this city, known as the
Gewandhaus Concerts.
The concert room is not large, but convenient, and good for
musical effect. The centre of the room is occupied by ladies,
and the outer seats mostly by gentlemen. A narrow gallery,
in which are a number of private boxes, runs round the room.
The first object of attraction, after entering the room, is a fine
large medallion of Mendelssohn, back of the orchestra ; there
22 MENDELSSOHN.
is no other bust or picture in the room. It makes one feel sad
when looking at this fine representation of the great modem
composer, in the very room where he has been, and still is, so
highly appreciated, and where he has so often triumphed glori-
ously, to think that he was cut off in his youth, and tiiat the
musical world, after so short a time of enjoyment, was deprived
of the talents and learning of one who promised to do for
music, perhaps, more than any man living. At almost every
conoe;^xnor; ;r less of his miio is peSaed ; his memory i
cherished, not only here, where he was so well known, but by
all the musical world, and his name shall be held in everlasting
remembrance.
A crowd of people were waiting round the door, when we
arrived ; and, although it was an hour before the time for the
performance to commence, the room was filled, (save the re-
served seats in the gallery,) in a few minutes afler the door
was opened* One must be on hand at an early hour to get a
good seat. In about half an hour the members of the orchestra
began to make their appearance, and as all the people in the
house were talking loud, so the musicians, as they came in, one
after another, b^an to tune, to try their instruments, and to
amuse themselves by running over the scales; so that by the
time they were all there, thus employed, the room was filled
with sound ; the more so because, as the musicians began to ex-
ercise themselves upon their instruments, the talking and
laughing grew louder and louder, and at a quarter of an hour
before the commencement of the music, it was a perfect Babel
in the concert room, and as difficult to hear one speak as it is
in a railroad car, with all the windows open, in summer. But
a few minutes before the hour, the room began to grow quiet,
musical expectation began to awaken, and when, as the precise
moment arrived, the conductor's signal was heard, everything
CHORUS OF VIOLINS. 23
was still, and perfect silence took the place of noise and con-
fusion. Another signal, and the whole band, as one man, were
heard interpreting and presenting to a most attentive audience,
one of the great works of the immortal Beethoven.
It was the Sinfonie No. 8, F major. This is not regarded as
one of Beethoven's greatest triumphs ; but, although it is light
and playful, it abounds in each of its four movements, with the
most &nciful and imaginative melodic figures, contrapuntal
points, and instrumental contrasts. Ever lively and ever new,
it never tires, but holds one in a kind of musical ecstasy from
beginning to end ; there seems to be no place where one caii
relax attention, or cease to be filled with musical delight ; so
that at the close of each part, a good long breath naturally
comes in as a relief; and one becomes conscious of the inten-
sity of the application he has been giving to the discourse.
The very first thing which strikes one, on hearing such an
orchestra as this, is the perfect oneness of the violins. They
do, indeed, constitute a perfect chorus — ^ten or more persons
are playing the first violin, and as many more the second ; but
they are all artists, and, therefore, each one loses himself; no
one is heard above the others ; but all so beautifully blend as
to constitute one perfect whole. This is the perfection of a
chorus, be it vocal or instrumental ; and this effect is produced
by the Gewandhaus Orchestra.
Another point, immediately noticed, is the proper proportion
of wind and stringed instruments ; but perhaps the most strik-
ing point, as contrasted with our American orchestras, is the
perfection of the wind instruments. It is too often the case
in our orchestras that some wind instrument is wanting;
thus the oboe or the faggotto is oflen missing; and again,
it is not unfrequently the case that, although there may be
some one to hold these or other instruments in the hand, or up
24 PERFECT ORCHESTRAL PIRATING.
to the sight of the audience, a tone is seldom permitted to es-
cape from them ; they are seen but not heard, Not so here ;
every instrument is not only represented to the eye, but is in
the hands of a master who makes it speak to the ear. The con-
sequence is, that such combinations fall upon the ear as are not
heard with us. The brass instruments too are made to tell
their story without any impedim^it of speech ; whereas, with
us, they stutter, or fiilter,, or hem, or cough, to the no small dis-
turbance of the equilibrium of one's temper. We do not
know that in this concert every instrument is played in all
respects right ; we do not know but some notes may have been
omitted, or wrong tones produced, but certain are we that we
did not discover any such imperfections. Tliere are four things,
(technical points,) that we have seldom heard well exhibited
elsewhere, which were exceedingly well brought out here, viz. :
Piano, Crescendo, Diminuendo and Fortzando. ■Diese, with the
other technicals of playing were so well observed, that added to
the pure tone peculiar to each particular instrument, and con-
nected with a most perfect amalgamation or blending of all the
different elements of the orchestra, they seemed to produce, not
a mere musical performance to be listened to, but a living be-
ing, or moral, spiritual existence, capable of expressing the
deepest feeling, and of calling forth the strongest sympathies of
humanity.
The Sinfonie being over, and a few moments for rest having
been given, old Handel visited us in an Arie from his Opera
" Aerio" — " Folle e colui eke al tuo favor si fida^'^ It was sung
by Herm Salvatore Marchesi, who was the only vocalist for
the evening. The song was well sung ; but we sometimes hear
quite as good singing across the Atlantic. Belletti is decidedly
his superior. The third piece was a Flute Concerto ; it was a
tiresome afi&ir. A Flute Concerto is a Flute Co'icerto, whether
GOOD MANNERS IN A CONCERT ROOM. 25
in the Gewandhaus, Hanover Square rooms, Tripler Hall or
the Melodeon ; and although it may not be always played by
Herm W. Sdake, (who certainly did his duty well,) it is al-
ways the most dry and uninteresting of musical performances.
In part 2d was given, 1st, the beautiful overture Echoes of
Ossian, (often played in New York and Boston,) by N. W.
Gade. 2d. Arie from Zauberflote, by Mozart, " Qui adegno
non 8* accendeJ'^ 3d. Mendelssohn's concerto for the piano
forte, in D. Minor. 4th. Arie from Don Giovanni, by Mozart,
" Madamina^ il catahgo e quesio^'* and 5th. The very fine over-
ture to the opera, " Der Wassertrager," by Cherubim.
Gade's overture may be regarded as a sacred piece. It
speaks of greatness, and calls forth emotions of the sublime.
Something like an Old Chorale pervades the whole, which
seems to tell of worship, and to call forth humble adoration.
With what grandeur this subject was given out, and oft in the
course of the piece alluded to by the brass instruments, or ex-
emplified and illustrated by the others, cannot be told. The
overture is known with us, but it requires and deserves dose
study.
The Piano Forte Concerto, D (not G) Minor, failed for
want of a performer; a highly promising young lad of the con-
servatory attempted it, but he had neither grasp of mind nor of
hand enough for Mendelssohn. Herr Marchesi sang both
airs well, gaining for himself decided applause.
On the whole, here is a highly-talented and well-regulated
orchestra. The conductor for the evening was Julius Rietz,
well known to the musical world.
I will mention one or two things about the audience :
1st. Gentlemen took off their hats before passing the door of
the hall, all of them, without a single exception ; and this, al
though they were there an hour before the performance con>
26 FBOGBESS IK AMBRICA.
menced. There was nol a single man standmg under the gal-
leries or near the doors, uncovered. The ungentlemanly act of
standing or sitting in a concert room with hats on, could not be
seen in the Gewandhaus.
2d. Ladies were all in full dress.
3d. There was silence during the performance of music.
The moment the music ceased, then indeed there was a perfect
buzzing of voices, and very loud talking all over the room ; but
at the signal for the commencement of the music, all was still ;
and we were not prevented from hearing the music by those
whisperings, so annoying in some places.
On the whole, this was a very fine concert; the orchestra
playing was as near to perfection, I doubt not, as can often be
found ; and that constitutes the great attraction of the Grewand-
haus. Every man seems to be able to play on his own instru-
ment well ; every man seems to give undivided attention to the
music, and to endeavor to observe carefully, not only the
time, as given by the conductor, but all those little gesticula-
tions by which expression is indilBated. Our orchestra playing
in America is fast improving. The Philharmonic of New
York, the Musical Fund of Boston, and may I not say,
especially the GermanianSy have each done much to advance
this cause. We must indeed be dependent upon foreign artists
for generations to come ; so it is even in England, where no
small portion of the performers are Germans; but we shall run
&ster when once &irly started, than the English. The cause of
musical education has already taken deep root with us ; our
music teachers are more numerous and more competent than
they were a few years ago ; many promising young men are
entering the proifession, and the work of teaching children and
of teaching in schools is constantly on the advance. Better
music, too, is being published now than formerly ; the sonatas
I
/
MirSIK-VBREINS BUTBBPB. 27
of Mozart and Beethoven, for piano forte, and Gems of German
song in the vocal department, are only specimens of what is be-
ing done in this way. But I must not enlarge. I only add
that at the concert of which I have tried to give some accomit,
two young Bostonians, students in music here, were seated be-
side me, (J. C. D. P. and W. M.,) both of whom, it is to be
hoped, will ere long be engaged in the work, doing their part
to advance an art and a science so important to human im-
provement and happiness.
, LETTEK V.
Concert of the **Mii8lk-Vweiiu( Euterpe'*— Symphony by Weadn^Fer— Von Weber**
Oberon— Mdlle. Marie Wleck— Old and New School of Piano Forte playing.
Lurzio, Jaaoary ST, 185S.
Tbesb concerts are similar to the celebrated Grewandhaus
Concerts. They are held in a somewhat smaller room, and at
a small subscription price, and are given only once in two
weeks. The orchestra consists of about sixty talented mu-
sicians, and if Dr'eyschock. and David are not seen leading the
violins here :as .at the Gewandhaus, they, together with the other
instruments, string and wind, are in the hands of artists of de-
servedly high reputation. The selections are also of the high-
est order, and the Euterpe presents its patrons with the works
of the fitreat masters in a style worthy of a Leipzig concert.
At a^r of m hour before the time of ^Smencement.
the members of the orchestra were in their places, talking,
tunmg and getting ready. This, together with the general con-
versation of the people assembled, produces a buzzing chorus of
\
\
28 SYMPHONY BY WESTMAYEB.
great power — ^a chorus with which the Leipzig concerts com-
mence. Every ticket was sold at an early hour, and of course
every seat was occupied.
TTie concert commenced precisely at the hour appointed, with
a new Sinfonie in E flat Major, in manuscript, by W. Westmayer,
who conducted the performance. He is a young candidate for
fame, who has been educated at the Conservatory here, and
who is regarded as already a successful composer. The Sin-
fonie consisted of four parts, and occupied in its performance
exactly thirty-eight minutes. I dare not attempt anything like
a particular description of it, or comparison of it with other like
compositions ; it was listened to with good attention by a dis-
criminating audience, and met a favorable reception. It seemed
to me, however, to want light and shade^ and variety in the
treatment of the different subjects introduced.' Parts of it were
exceedingly interesting, considered in reference to modem com-
binations and contrasts of the different orchestral elements, but
there was a too constant ^r/c, and a too frequent reiteration of
the tonic and dominant harmony, with brass instruments, in
military rhythm — ^this, indeed, is a general resort of such
composers as are sometimes at a loss for an idea, or in
a similar condition with the public speaker who is obliged to
speak, but has nothing in particular to say. I do not mean that
Mr. Westmayer was minus thought^ but still there was not
such a flow as we often find in a Mozart.
The Sinfonie was truly good, and seemed to give much satis-
^tion — and yet I could not help thinking that it was an excel-
lent preparation for the high appreciation of the next orchestral
piece, which was no less an overture than the celebrated No. 2,
C Major, to Leonore, and which was given with an effect far be-
yond what can be often heard.
The overture by C. M. Von Weber, to Oberon, was also
ICABIE WTBCK. 29
played -with such an energy and brilHancj as to take xie's
breath away. The stillness of the pianos, the gradual and im-
mense range of the crescendos, the thundering power of the
fortes, with instantaneous contrasts and startling sfortzandos,
were enough to work up the feelings to a perfect phrenzy.
Wonderfully efiective were these ever £iYorite overtures by
Beethoven and Weber.
It was no small attraction of this conoert that the piano fi)rte
was played by the Fraulein Mabib Wiegk, the sister of the cele-
brated Clara, wife of Robert Schumami. Mdlle. Wieck is a
very superior player; she has not the strong hand of a
DeMeyer or a Lastz, but she has a most finished touch, and
plays with great elegance and expression. Her first piece (hear
it, oh ye of the exclusive modem school,) was nothing more nor
less than Dussek's 12th Concerto in E fiat major, the Adagio
said Allegro movements of which she played — a most beautiful
composition, elegant and tastefid in the highest degree, played
both by the principal and by the orchestra as near perfection as
such things can be done. There is nothing in the music to as-
tonish, or to excite wonder or surprise, but there is that in it
which is adapted to call forth perfect delight. It is full of peace,
and innocence, and purity, and joy, and it is from beginning to
end a constant appeal to the perception of the beautifiil. I am
no enemy to the modem school ; it is indispensable to an ac-
complished pianist, and every well-educated musician will de-
L'ght in it; but they err who suppose that in Clemenii and
Cramer and DusseJe and Pkyel, there is nothing good or worth
being saved. The &ct is, the pianists, previous to him who is
generally regarded as the head of the great modem school, had
worked out a very satis&ctory solution of the problem of piano
forte playing, or certainly so if considered with reference to the
more natural and legitimate powers of the instrument. Thai-
80 NEW AND OLI> SCHOOL.
berg, Listz, and others, have certainly much enlarged the
boundaries, or the available capacities of the piano, but some of
their followers have gone to extremes ; so much so that there
has seemed to be danger of losing altogether the ordinary effects
of piano forte playing, or that they would he swallowed up in
the extraordinary feats of left-hand melodies, flights of octaves,
and the various methods by which amazem^t and wonder are
excited. Tluudffl for tbe signa of returning soberness and good
sense ; we greatly mistake if other authors like Dussek are not
yet to be brought back to the concert room, And to the parlor,
to lill with delight the spirit of the true lover of music, and
of the most beautiful of all keyed instruments, the piano fi>rte.
A word to another class. There are some who condemn al-
together the modem school, and who seem to suppose that all
true musical genius left the world with Haydn and those of his
day. Fraulein Wieck is not of their number, for while she
played Dussek, in the first part of the concert, she played not
Thalbei^, or Ldstz, or DeMeyer in the second part, but Pagan-
nini ! Yes, the Carnival of Venice, arranged for the piano, and
if music pleased legitimately in Dussek, the Fraulein excited
no small degree of feeling by her exquisite touch, and facility of
execution in the composition of the Prince of violinists. What
if it be mere trickery ; a dexterous artifice will always, at least,
call forth admiration, and one does not always want to sit in
sober judgment^ and decide on the grounds of intrinsic musical
merit — ^relaxation must be indulged, the beautiful give way to
the ornamental, and true pleasure to mere amusement. If
tl^ere is a time for all things, surely there is room enough for
the old and new school of piano forte playing — ^yes, and for
both schools of organ playidg too, although this is not tbe place
to dwell upon the latter.
There was still another interesting feature in the Euterpe
GEWANDHAUS. 81
Concert — ^it was Ae siBging of Mdlle. Louisb Wolfl. She
sang an air from Stradella by Hotow, and also two German
songs, the latter by Franz Schubert. A pretty singer, but not
superior to several American vocalists.
The principal point of interest in the concerts here, to an
American, seems to be the excellence of the orchestral perform-
ance. This satisfies.
LETTER VI.
GewandbaiM Coneerl— JslioB BietE— Harmaii*8 new Symphony-Oienibini— BeethoTen
— RoBsini— Mendelflsohn.
Lbipsio, January 30, 1852.
Perhaps there is not a series of subscription concerts in the
world of a deservedly higher reputation than that of the Ge-
wandhaus, Leipzig; and this is equally true both in relation to
the character of the music selected, and the manner in which it
is performed. The circumstances under which these concerts
are produced are highly favorable, and cannot &il, ordinarily,
to lead to the most happy results. The room is neither too
large nor too small, though, perhaps, its dimensions might be
somewhat extended without injury. The concerts are univer-
sally popular ; the lovers of music are always there ; every-
body who loves music, and can procure a ticket, is engaged on
Thursday evening, and the many professors of music (including
those of the Conservatory), the musical students, and the
critics, with all the piano forte ladies, and all other musical
ladies, are there. They go, too, fi>r musical purposes ; not so
much to see or be seen as to listen to the productions of the
32 JULIUS RIETZ.
great oomposers, or to those of some young aspirant for musical
fame, who is so fortunate as to obtain the consent of the gov
emment to the performance of his works. Expectation is
awake, and good music, well done, is looked for and demanded
by the large and intelligent audience. Indeed, the Gewandhaus
Concert is a kind of high school, where taste is formed in the
young, and perfected in the old, and where the knowledge of
musical science, the appreciation and love of musical art, and
the general state and progress of both, are made manifest.
It may be regarded also as a tribunal, the approval of which
is a sure passport to the young performer ; for he who can give
satisfaction here, need not fear to appear before any truly en-
lightened audience in the world. TTiis last remark, however, it
may be necessary to receive with some restriction applied to
the students of the " Conservatorium der Musik^^ to whom
there is sometimes an indulgence extended amounting almost to
partiality or fevoritism. They are as children, and what parent
can see the faults of his child 1 TTie members of the orchestra
may all be regarded as solo players ; every instrument is well
played, and every performer is capable of executing the most
difficult passages at once, so that a single rehearsal only is
necessary, even for a new complicated symphony — ^and that
not for anything belonging to the technics of art, but only for
the higher points of taste and expression. The Conductor
(Julius Rietz) is a thorough musician of the German school, a
man of much experience, who has the fiiU confidence of the
members of the orchestra and of the musical community. He
is well acquainted with the works of the best composers, and
knows how to bring them out in the careful observance of all
those little nice points of delicacy and taste, upon which the
highest and best effect depends. The rehearsals are private and
exclusive ; they are thorough, but not tediom. Indeed it is but
SYMPHONY BY HEBMANN. 88
necessary to name the point, or to describe with accuracy the
effect desired, when the finger^ the 5ow, or the emhouchure^ re-
sponds immediately to the conductor's conception of the pas-
sage, and the ideal becomes reah
The orchestra being well prepared, at the rehearsal, the con-
ductor's duty becomes a very simple one at the performance ;
hence there are no violent gesticulations, stampings, bowings or
see-sawings of the head, scraping of the feet, or showing off of
the baton, but all is calm and quiet, and a simple indication of
the time, with some slight occasional variations for different
forms of dynamic effect, is all that is necessary. A thorough
knowledge of music and of composition, an acquaintance with
the capacity of every instrument and its proper use and effect,
a perfect control of time, decision, firmness, entire sel^possess-
ion and control, gentleness of manner, affability, courtesy —
these are among the indispensable requisites in a conductor, and
these o\ir Gewandhaus conductor seems to possess.
Are not the circumstances then (some of which have been
mentioned) so favorable as to justify the patrons of these con-
certs in expecting and demanding a high degree of perfection
in the performances ?
The concert last evening was, perhaps, inferior to the general
average. A principal point of attraction is always found in
the Symphony^ and on this occasion it was not a Mozart, a
Beethoven, or a Mendelssohn, but an original manuscript com-
position of a member of the Orchestra, Ferd. Hermann, that
was performed. Herr Hermann directed his own Symphony.
It did not meet with a very warm reception, though sufficiently
so to afford good encouragement to the author and his friends.
There is always so much caution and incredulity, and some-
times suspicion, envy and jealousy abroad, that the path to
fame, even to true merit, is rough and beset with difficulties.
2*
84 SYMPHONY BY HERMANIT,
Our author, we suppose, could not complain of the manner m
"Which his work was received, and probably a young composer
does not often obtain greater approbation. There were un-
doubtedly fine points in the Symphony, indicating talent, taste
and judgment. Its themes were concise and dear, and there
seemed to be a considerable degree of the effusion of genuine
feeling, without dry detail, commonplace thoughts, or tedious
repetitions. The instrumentation was quite well balanced,
though the Oboe was, perhaps, somewhat too prominent in the
melodic passages ; a greater variety of coloring in this respect
might be an improvement. The thoughts were easy, natural
and chaste, but yet never so striking as to call forth a raptur
ous or involuntary exclamation of delight or applause. The
interest too was well sustained through the four movements,
and although we suppose that the critics will not allow to this
Symphony a higher place than mediocrity, yet the young author
may be well contented with the award bestowed, return to his
study, and try again. ^
Signor Stigelli, a Tenor, from the Royal Italian Opera, Lon-
don, sang with approbation ; Carl Deichmann, a Violinist, from
Hanover, played with entire success, a Concerto, by Vieux
Temps; an aria by Julius Rietz, (Conductor,) was charm-
ingly sung by Miss Mayer, coming seemingly fresh from the
heart, on the tones of a sweet voice.
The omission to send the above by the last week's mail,
enables me to add a word in relation to the concert of last
evening, the sixteenth of the season. Owing to the fact (I sup-
pose) that there were several distinguished solo singers here,
the first part of the concert consisted more of vocal music than
usual. A chorus of men's voices was also introduced, and
large extracts were given from Cherubim's opera of "Ali
KOSCHELBS. 35
Baba,'' and from Bossinrs " Wilhelm Tell,'^ also an aria from
Don Juan by Mozart. Two overtures were admirably played,
viz. : Leonore No. 2, Beethoven, and William Tell, Rossini.
The fine chorus of men's voices added much to the interest of
the concert, but the principal piece was the charming A minor
Symphony No. 3, by Mendelssohn. I have often heard this
magnificent production of Mendelssohn performed at home, but
it is no discredit to our orchestras to say that it is quite a dif>
ferent thing when given with the precision of the Gewandhaus
orchestra. I will attempt no description ; suffice it to say that
it was the perfection of orchestral music — so soft and so loud,
80 melancholy and so joyful, so exciting and so soothing, so ex-
pressive and so effective — ^imagine it, ye who have no oppor-
tunity of hearing it.
LETTER VII,
Sketeh of UoflcheleB, the ocSebrated PUoiIit.
Lsmxa, February 16, 185S.
This veteran of the piano forte, who has eistablished for himself
so high a reputation, and who was for many years the prince of
the piano in London, has resided for the last six years in Leip-
zig as professor in the '^ Conservatorium der Musik ;" in this
institution he occupies the place for which he is so eminently
qualified, and is the principal teacher of his favorite instrument.
Mendelssohn was his particular friend, and it was at the great
composer's urgent solicitation that Moscheles gave up his lucra-
tive situation in London, and came to Leipzig, to devote the
remainder of his life, in connection wit{i his young fiiend, to the
36 EALEBRENNEB, BIES.
cause of musical education, and the building up of a high school
for music here. Mendelssohn was young, but Mosoheles was
already past the meridian of life. Little did he expect to sur-
vive his talented friend ; but while the elder of the two still
lives, the highly-gifted Mendelssohn was taken away while yet
in early life. While the musical world most deeply mourns
his loss, every mouth is filled with his praise, and his name
seems destined to live with those of Bach, Handel, Mozart and
Beethoven.
We well remember when, some thirty years since, Moscheles,
Kalkbrenner, and Ries, formed the great trio of piano forte
composers, performers, and teachers. Cramer still lived, though
he had mostly retired from public life. No man had ever stood
higher as a pianist than Cramer ; no one has since stood higher,
and probably no one ever will. His works are among the
musical dassics, and must be studied by every one who would
excel. But this trio of writers who immediately succeeded
Cramer, seemed to enlarge the compass of the instrument, and
to cause it to speak, if not with a more chaste, beautiful, or
better language, yet with a more extensive vocabulary. Ries
and Kalkbrenner too, afber having obtained a high reputation,
passed away — they are not — ^and Moscheles seems now almost
the only remaining link of connection between the old and new
schools. He is the enlightened and warm advocate of improve-
ment, and he has done much not only for the piano, but for
music generally ; but he goes not with those who, by new sys-
tems of notation, or by any mechanical training of the hand,
rather impede than accelerate the progress of science or art.
TTie Hand-Guide of Kalkbrenner he never approved. He well
.knows that all dexterity of finger must be achieved according
to the natural laws of exercise ; industry and perseverance in
the proper use and training of the muscles can only insure success.
neitkomm; 87
He knows of no short, patent, or royal road to musical excel-
lence ; but insists upon tlie same drilling or training now that
he did when he commenced his professional career in London.
Moscheles stands very high not only as a teacher and com
poser, but also as a performer. I well remember being at a
select music party at his house in London in '37. Several dis-
tinguished pianists were there, one of whom now fills the world
with his praise, and has been called the king of the piano forte
— himself once Moscheles's pupil. The Chevalier Neukonmi
was there, and in the course of the evening, being in conversa-
tion with that distinguished man, I asked him the question,
" Who is the greatest living pianist 1" " I think hs is," replied
the Chevalier, pointing to Moscheles.
M. Moscheles retains his powers, and is still fresh and young.
He is always busy, as he is full of teaching, and has much to do
in connection with the conservatory ; yet he finds time to enter-
tain a stranger, and to amuse and instruct one by many musical
anecdotes and reminiscences. He knows with familiarity, the
history of music and of musical composers, vocalists and instru-
mentalists, for well nigh half a century. His position in London
as teacher, composer, and conductor, brought him into con-
nection with many of the first musical men, and he profited well
by his experience. He was the friend, and is, as is well known,
the biographer of Beethoven ; and he has many relics of the
great symphonist, which he shows with pleasure to those per-
sons who are interested in such things. Among the manuscripts
which I saw, was the first sketch of the great Mass in D, (Beetho-
ven's Second Mass,) the leading thoughts merely being written
down in a character not easy to decypher, and which would be
as unintelligible to many a one who thinks he understands
music, as the hieroglyphics on an ancient Egyptian monument.
This sketch is contained in a sketch-book, in which ^r^^ ihoughU
88 BEETHoysirs sketch book.
of several of Beethoyen's compositions appear. Such a sketch-
book he is said always to have carried with him, in which he
made a hasty record of passing thoughts. From these he
selected, in study hours, the most worthy, and elaborated them
in such form and connection as his excellent taste and good
judgment dictated. The sketch-book, as Mr. Moscheles told
me, clearly proves that Beethoven did not always rely upon first
thoughts, but that he frequently modified them according to the
dictates of a careful judgment. This is probably true of all the
great writers. It was so with Mendelssohn, whose after thoughts
were often preferred and adopted, even although the composi-
tion containing them was already published. Hence the disa-
greement that sometimes appears between the English and
German copies of the works of Mendelssohn ; for after a work
was published in one country he would sometimes alter and
improve upon it, before it was allowed to appear in the other.
The sketch book of Beethoven contains first thoughts of other
compositions, and especially of variations upon a waltz of Dia-
belli, in respect to which Moscheles related to me the following
circumstances. Diabelli, who was a publisher of music in
Vienna, a friend and companion of Beethoven, and also a good
musician, composed k waltz with which he, the composer, was
much pleased, and wluch, though of a popular and taking char-
acter, was truly chaste and elegant. The idea occurred to him
of getting from distinguished composers to the number of fifty,
variations, and then to publish his waltz in connection with
them. Accordingly he wrote letters to eminent musicians,
sending his waltz, mentioning his plan, and asking from each a
variation. Moscheles was himself one of the number to whom
application was made. Diabelli called on Beethoven, and made
known his wishes to him. Beethoven, amused with the novelty
of the project, promised to do his part. After some months,
HENBfiLSSOHN'S LSTTEBS. 89
and when returns had been received from many to whom appli
cation had been made, Diabelli called on Beethoven for his
contribution. It was not ready ; indeed it had been forgotten,
but Beethoven promised it in a week. A week passed away
and a second call was made, and a second disappointment ex-
perienced, the variation had not been written ; he was promised
however that without fail it should be ready on a certain day.
On the day appointed Diabelli called for the third time, when
Beethoven coming into the room with his paper said, ^' Ah, my
dear Diabelli, you asked me for one variation, but here are
thirty-three," and he actually presented him with thirty-three
variations instead of one. They were immediately published,
extensively circulated, and much admired. (See Beethoven's
120th work.) The other fifty variations were also published,
but those by Beethoven obtained the decided preference.
Moscheles has original manuscripts of many of the great
musical composers ; but nothing that he can produce will be
looked upon with more interest than Jiis letters from Men-
delssohn. These he has very carefully bound together so as to
preserve them in safety ; they are between seventy and eighty
in number, and are on various musical, literary, and artistic
subjects. They are beautifully written, sometimes embellished
with illustrative drawings with the pen, and are full of humor,
wit, and good feeling. One of them, for example, after the
words " Dear Moscheles," begins with an intrctda, or trumpet
salutation. It is carefully written, on a staff made with the pen
at the moment, without a rule, in small notes, and a more
joyful or heartfelt greeting cannot be conceived. Another, a
congratulation on the birth of Moscheles's son Felix, (now pur-
suing his studies in Paris as an artist,) commences with various
orchestral instruments hastily sketched with a pen, with a host
of violins descending as angels of music from heaven ; a most
40 MOSCHELES' WORKS.
beautiful design indeed, which Mendelssohn proceeds to explain,
when leaving his musical symbols, he has recourse to letters
and words. Moscheles Piano Forte Pastoral Concerto (op 96
in D) was composed for Mendelssohn and dedicated to him.
In Mendelssohn's letter written in acknowledgment of the re-
ceipt of the Concerto, and which is highly complimentary to
the author, he has drawn a landscape representing pastoral life,
with mountains and valleys, flocks, herds, houses, &;c., including
a village church with its joyfully ringing bell, as illustrative of
the ideas suggested to his mind as he played over the music of
his friend. The letters are here, too, in which Mendelssohn first
opens his mind on the subject of the conservatory, and in which
he urges Moscheles to come to Leipzig and join him in carrying
out his favorite project.
During a visit to Moscheles, when I gathered the materials
for this communication, as well as many other pieces of inter
esting information which I cannot now mention, he was so kind
as to play to me for half an hour or more, various piano forte
studies and other music, illustrative of the powers and progress
of the instrument..
Moscheles's own works for the piano are much used ; his
printed studies are as follows — 24 Studies for piano forte, op.
70; 12 Characteristic Studies, op. 95; 2 Studies originally
published in Beethoven's album, op. 105; 2 Grand Studies,
being part of a complete method by Moscheles and Fetzs ; 4
Grand Concert Studies, op. Ill ; Daily Companion, or practical
and progressive exercises for two performers, op. 107.
He has recently published (by Kistner, Leipzig,) a grand
Sonata (op. 121 in E) for Piano Forte and Violincello. The
Concertmeister David, (the well known Violinist,) has adapted
the Violincello part for the Violin, as he has also done with
Mendelssohn's Sonatas. Moscheles, although a very popular
HENRIETTK SONTAG. 41
performer, has retired from all public playing ; yet he is not
slow to encourage young aspirants for fame. His influence is
on the side of truly scientific music, like that of Beethoven and
Mendelssohn, nor will he do anything to patronize a more
superficial style or flippant taste, either in composition or in
playing. As a teacher, it is as well his object to form the taste
as the hand. Would that his example in this respect were fol-
lowed by all teachers, and that our young pianists would prac-
tice with diligence and perseverance his studies, and other
similar works, rather than spend their energies upon the many
mountebank trickeries of some modem writers.
LETTER VIII.
Sevoitoenth Gewandhaiu Ooncert^Ferdiiumd Darid— Gluck^s ^ Iphegenie in Taoride"
—Madame Sontag— Central Hall Concert.
Lkipzis, February 31, 1852.
This Concert was particularly attractive to the musical peo-
ple of Leipzig, from the fact that the singer was Mad, Sontag,
by marriage the Countess Rossi. The weather was unfavora-
ble, being rainy, and the streets were muddy. I took my place
at the door of the Gewandhaus at half-past four, where the
people were then gathering. By five,* when the outer door
was opened, a multitude had assembled, and immediately
rushed into the house, filling the long stairway and entry.
Here was another interval of waiting, until half-past five,
when the door of the hall was opened, and the room was
immediately filled. We had now to wait another hour, or
until half-past six ; when the performance commenced with
a symphonic, by Joseph Hadyn in C, very light, playful,
42 FERDINAND DAVID.
and pleasing, bafc lacking the depth of a Beethoven or a
Mendelssohn. It is so easy a composition, that it seemed
to be quite children's play for the orchestra, who yet ren-
dered it in the most perfect manner possible. This was
followed by an Arie from "J^twafofo" by Handel; a most
charming song indeed, and as charmingly sung by Mad. Sontag.
Of Mad. Sontag's singing, I dare not speak now. I will only
say that no one can have a more perfect execution ; but to say in
what her excellence consists, as a singer, or what are the pecu-
liarities of her style, must not now be attempted.
The third piece was " Momanze for the Violinj^ by Bee-
thoven ; performed by Herr Concertmeister, Ferdinand David.
This is the David whose compositions for the violin are so well
known, and whose reputation as a player is so extensive. Mad.
Sontag then sang ^^-Bel ra^gio lusinghier^^ from Rossini's
Semiramide, a song requiring the greatest powers of vocaliza-
tion ; this was perfectly given by the inimitable artist.
The second part consisted of the Overture and a long scene
from Gluck's &mous ^''Ipkigenie in Tauride ;'''' the principal
vocal part being that of Iphigenie by Mad. Sontag. Gluck
has not been heard with us, but he ranks in the very first class
of composers here. The overture is a magnificent concert
piece, and it was perforhied by this fine orchestra with wonder-
ful precision and effect. Beethoven's Overture to JSgmont closed
the musical entertainments of the evening, and well repaid one
for his Two Thalere, (cost of a ticket,) and for all the previous
waiting, wetting, and crowding necessary to secure a place to
stand up.
Mad. Sontag is gone, and the Gewandhaus Orchestra is
thrown upon its own strength and resources ; but it &ils not,
neither is it &int or weary. The Eighteenth Concert was
CHEAP CONCERTS. 48
(save the cbarming smget) one of the very best of the season.
The Orchestra (said one who has often heard) never played
better ; well might they feel the inspiration of their author, fi>r
they played BeetJloverCs 4i(h Symphonie^ than which he has not
written a better. It is not so well known in America, but it
cannot rank second to anything which Beethoven has composed.
The adaugio (sextuple movement) is as perfect in design and
as beautiful in coloring as in any woirk of musical art. Frau-
lein Anna Klamg sang a MecitaHve and Ariefram Spkor^s Jes-
sonda. Herr G. Kruger^ from Stuttgart, played two pieces
well on the Harp ; and a well-trained choir, Pauliner Sanger-
Vereins, of fifty men's voices sung three pieces, two of which
were by Mendelssohn, and one of which may be fi>und in the
" Fireside Harmony " ( Wciserfahrt.) Mendelssohn^s Overture
'^ Melusine,^^ as fine an Overture as exists, was played ; and the
performance was worthy of the composition.
These Concerts are very popular and fashionable. The
Musical Professors are all there, expectation is fully awake, and
I believe almost always fully gratified.
Mad. Sontag has left Leipzig for Dresden, where she will
undoubtedly create as great a sensation as she has here, I
hope to notice her more particularly hereaftier.
The next evening (20th February), I attended one of the
cheap, eaHng, drinking, smoking, talking, sitting^round-the-ta^le,
wearing-hat, &c., &c., &c.. Concerts. The Orchestra numbered
about thirty performers. It was really a fine Orchestra, though
it appeared feeble in strings, (having only four violins on a
part,) after listening to the Gewandhaus band. Beethoven's
Sym. No. 7, was played, and also Weber's Overture to Obef on
— ^with other music, including a very excellent new overture
(manuscript) by W. Herfuth. The contrast was really a very
4a comparison of sinoebs.
excellent one, but it suffered in comparison with that of the
preceding evening ; and the room was too much filled with to-
bacco smoke and noise for comfort.
LETTER IX.
Mad. Sontag— thetwo Stflet of Singing Compared— Mara— Catalani—Wagner^filnd^
Sontag.
Lnpzio, February 28^ 1853.
How shall we speak of this vocalist, or to whom shall we
compare her 1 The power of language has been exhausted on
inferior or commonplace artists. Excellent, beautiful, charm-
mg, delightful, and other like adjectives fail ; and words cannot
give an idea of Sontag, because by their common use they have
lost their significance, and because it is really quite impossible
for any one to imagine what her singing is who has not heard
her, or some one of the very few real artists who take rank
with her. Those, however, who have heard Jenny Lind (and
she is, perhaps, the only person living to whom Sontag can be
likened), will be prepared to understand what may be truly
said of Sontag, and to appreciate and enjoy her singing. Both
these artists belong to the same general school, and both excel
in the same department ; but yet they are not alike, not even
when they represent the same character, or sing the same song.
Singing (so also music generally, and other fine arts), may
be divided into two general classes, or styles, corresponding to
the sublime and the beautiful in nature. These have been some-
times designated by the terms great and small; or, with quali-
fications and exceptions, serious and hum^orous ; or, when carried
COMPAKISON OF SINGERS. 45
to extremes, traffic and comic ; and singers as well as actors
usually excel in the one stjle or in the other. There may be
now and then one who does well in both, (Garrick for exam-
ple;) but true excellence in both departments is not to be
looked for in the same person.
It is the office of the great style to move the deeper feelings
of the soul, or to call forth the most powerful emotions be-
longing to humanity ; and this it does sometimes by strains the
most simple, or even by a single tone ; while at others, a
similar effect may be produced by an immense volume of voice,
or by great executive power. The style which has been called
small^ (only, however, in a good sense of the term,) excites the
gentler feelings, brings up to the imagination figures of beauty
and loveliness, and fills the soul with pure delight.
The natural qualifications indispensable to any high degree
of excellence in either department are very rarely found;
hence there are but few good singers in the same age, or exist-
ing on the stage at the same time. But yet we are confined
mostly to the present generation for illustration of our subject,
since the singer's art, as it admits not of record, cannot be
banded dovm to posterity, but perishes with him. But few can
form any adequate idea of the great vocalists who have hereto-
fore lived ; we can but with great difficulty carry the remem-
brance of excellence in the singer's art for any considerable
time, and we are very apt to think the last the best. It is safe
to assume, however, that J/ara, for example, excelled in the
great style ; for history tells us that she gave a character to the
sublime songs of Handel and other old masters, that no one
since her time has been able to do. But how shall we get an
idea of what Mara's rendering of " I know that my Redeemer
liveth," really was? We cannot. Or rather, every one will
form an idea in accordance to the materials he has accumu-
46 MABA AND CATALANL
lafed, or to what he has heard of the power of song. Every
one says the song which we have mentioned is great ; but every
young lady who has spent a few years in vocal music, thinks
that she can sing it, for she has taken it month after month for
a lesson, has sung it to her teacher for years, and he has often
told her that she sings it well, and this has been fully confirmed
by her parents and friends ; and still she may not have any
adequate perception of the song-rK)f its immensity, or deep
spirituality, or of the extensive natural powers both mental and
physical, thoroughly developed, necessary for any just render-
ing of the mighty conception of Handel and Job.*
Catalani was also great^ or belonged to the great school, if
we may credit the reports of those still living who were famil-
iar with her manner; and she is said to have produced the
most sublime effects with a very simple melody. A gentleman
who heard her, told me, that she would sing the national an-
them, " Qod save the Exng^'* calling forth the deepest reverence
and awe, hushing to perfect silence a mixed multitude who had
assembled to hear her, and filling the minds of all with an over-
whelming idea of greatness and immensity. But although
Mara and Catalani, both belonged to the great school, it does
not, therefore, follow that they were alike. Perhaps it may be
safe to say that it belonged to Mara to speak, in deep-felt yet
simple tones, to the heart ; and to Catalani by her inmiense
power of voice, to excite feelings of awe and reverence, or by
* We hope we shall not be understood to discourage our young vocal-
ists from the study of this or other similar songs. Handel must be sung;
the Messiah must be sung; and whereyer the Messiah is sung, *'I know
that my Redeemer liveth," must be sung also. We have heard it done
creditably by young American singers. We would recommend the study
of this, and of other songs of Handel, to every one whose musical aim ia
high.
JENNY LIND. 47
the overcoming of extreme difficulties of execution, to awaken
those of wonder and astonishment Of living artists Chrisi
may be classed with those who can sing in the great style ;
though she belongs rather to that department which may be
called tragic. Viarddt Garcia also moves in the same lofty
sphere, and is probably the first singer in the world, in this
style ; and to the same dass, too, belongs the Frdulein Wagner
of Berlin,
We do not know whether we have succeeded in conveying to
the minds of our readers an idea of what we mean by the
great style in singing ; but we feel quite certain that we can
make ourselves understood when we speak of the beautiful ;
{small^ technically ;) for here we can illustrate our meaning by
reference tp one who has been extensively heard, and wherever
heard admired, in America. To this style belongs Jenny Lind ;
and to this style also belongs the no less perfect artist, the
Countess Kossi-Sontag. But while we assign to the same gen-
eral class both of these inimitable artists, they are, as has al-
ready been said, unlike. We can only mention a few of the
points of difference. Jenny Lind has a voice of higher com-
pass ; she has also more strength of lungs or command of
breath, and can, therefore, prolong a tone to greater length, and
sing with a greater degree of power than Sontag. On the
other hand, Sontag has a richer low voice, and throughout its
whole compass greater purity of tone. With respect to this
point, Sontag's voice is perfect. And not only in their natural,
but also in their acquired powers, do they differ; and the
musicians, some of them say, that Sontag has the more perfect
school. But we prefer not to express our opinion on this point,
nor will we venture to say which has the greater execution ;
they are, in this respect, both stars of the first magnitude ; and
either of them is sufficiently bright to dazzle the eyes of a
48 SONTAG AND LIND.
common beholder. When listening to Jenny Lind, we have
thought that vocal execution could be carried no farther ; and
when listening to Sontag, we have felt quite sure that her's was
the perfection of excellence, and have been disposed to class
ourselves with those who think the last the best One of the
German critics has said that Sontag ^^has attained the very
height of the science of song ;" that " both in the technical and
spiritual, she stands in a place which has not before been
reached by any mortal, and that her performances may there-
fore with propriety be called supernatural." The same writer
compares her to Jenny Lind, and says that " no one else living
can claim so perfect a command over the vocal organs as these
two artists."
Their fevorite characters are the same; and the very parts in
which Jenny Lind excelled, and out-rivaled every one else, are
the same which Sontag represents better than they have ever
been represented before. To her pre-eminent histrionic talent
Sontag undoubtedly owes much of her great success ; her acting
is certainly not inferior to her singing. But this is said also of
Jenny Lind, and by highly intelligent critics, who have seen
them both in the same character. In the part of Marie, (Fille
du Regiment,) which was written, as we have been informed,
originally for Sontag, Jenny Lind is said to have been success-
ful in the highest degree in her acting, and to have united in a
most remarkable and unprecedented manner the very simplicity
)f nature with her wonderful musical powers, pouring out the
Alness of her soul in connection with the perfection of art in
Bong. And following Sontag, as she did, she was thought by
9ome even to surpass her ; but now that Sontag has come up
again after a retirement from public life of twenty years or
more, and after having become the mother of many children,
we see her rising to a point of perfection in Marie which it
SONTAG AND LIND. 49
would seem has never before been attained. We see in her
the bold soldier girl, (though always modest, lovely, and excel-
lent,) having grown up with the regiment, and having deeply
imbibed the military spirit, carrying with her the fruits of her
education, the love of the parade, the march, the trumpet, and
the drum, into the drawing-room, and maaifesting her courage
in strains of song the most artistic possible to be imagined :
giving the boldest and most difficult passages, apparently with
the greatest ease and freedom. Now, whether Sontag's or
Jenny Lind's Marie is the better, either with respect to acting
or singing, who shall determine ? A similar comparison might
be made of these two Queens of song, in other favorite charac-
ters, in which each in her turn surpasses the other ; but we will
attempt to carry it no further. Mad. Sontag is said to have
resumed her profession in consequence of the loss of property,
and of having a family of children to support and educate. It
is remarkable that, after a retirement from public singing for
so long a time, she should yet retain her full vocal powers ; yet
such, I am assured, is the fact. A gentleman who stands as
high as any one in the musical profession here, and who heard
her often during her former triumphs, assures me that so far
from having lost, she has really gained, in purity of tone and in
art ; though her voice has undergone some change with respect
to compass or pitch, having, as he observed, lost " two or three
of its higher tones and gained three or four lower ones." Mad.
Sontag is now traveling through Germany, with the most bril-
liant success. She has recently produced much excitement in
Leipzig, as she does not fail to do wherever she goes, filling the
houses to overflowing, notwithstanding the tickets of admission
are doubled in price. Mad. Sontag and Jenny Lind are said
to be the only two singers who. have been able thus to advance
the admission fee. She has sung here, in all, at nine different
3
50 SONTAG'S ROLES.
performances — eight times in opera, and once in concert. Her
characters were as follows :
Marie : "Daughter of the Regiment," (twice) Donizetti.
Amina : " Somnambula." Bellini,
RosiNA : " Barber of Seville," (twice) Rossini.
SusANNE : " Marriage of Figaro," Mozart,
Martha : ** Martha, or Market of Richmond," (twice) Flotow.
In the Concert Room, her songs were " Lasda ch'io pianga,"
Rinaldo, by Handel; "Bel raggio lusinghier," Semiramide,
Rossini ; and a scene, Recitative and Arie from Gluck's Iphi-
genie in Tauride. We have already spoken of her as Marie ; of
other characters, we will only say, that Hasina and Martha are
great favorites ; and those persons who know what these are,
will have a correct idea of the principal characteristics of her
singing, and of the characters in which she stands pre-eminent —
unapproachable. She was always greeted and recalled with
the most perfect enthusiasm on the part of the audience, amid
showers of bouquets and wreaths of flowers. Her appearance is
highly interesting, especially after one becomes a little familiar
with her voice and movements. She is indeed a fine looking
woman ; youthful and active, when she appears in public, as a
young lady of eighteen. Her triumph in Leipzig was complete.
Mad. Sontag has the reputation of being an excellent woman,
a faithful wife, an affectionate mother, aftd a warm-hearted
friend. She told me that she intends a professional visit to the
United States of America in the course of the coming Summer or
Autumn, naming August as the month in which she might proba-
bly sail. She has had quite a number of propositions, but chooses
to keep herself free from all engagements by which she might
possibly be perplexed or embarrassed. It is not true that she
has made arrangements for Thalberg, or any one else to accom-
ST. THOMAS'S CHURCH. 51
pany her ; though she may probably make provision for such
aid as she may need, before leaving Europe. We heard her in
Leipzig often, and we may venture to assure those who have
been enraptured with Jenny Lind, that they will not be disap-
pointed in Mad. Sontag. I know not whether she possesses the
versatility of talent of Jenny Lind ; but whether she has equal
power to please a popular audience with " John Anderson," or
" Comin' through the rye," or not, it is sure that the appreciator
of perfection in the art of song must be fully satisfied with Mad.
Sontag.
LETTER X.
"Thomaskirche''— Charity Pupils— Order of Service— The good Organist— Essential
Qualifications.
Lkipzio, March 1, 1853.
The church of St. Thomas is a venerable and antique-looking
l>uilding, both inside and out. The present edifice dates as far
back as 1482. It is upwards of 280 feet long, and 115 feet wide.
It has double galleries, as most of the churdies seem to have here ;
besides which there are perhaps twenty or more private boxes or
apartments, which I suppose belong to distinguished or wealthy
persons. I have seen one of these occupied during a part of
the sermon by clergymen, in their officials, several being pres-
ent. At the altar, at the extreme end of the church, is a figure
of the Saviour oil the crosl^ and, during the service, candles
are kept burning. Between this and the naVe is a reading-desk;
and in the nave, perhaps 180 feet from the altar, stands the
pulpit. During the devotional services belonging to the offici-
ating minister, or performed by him, he stands at the altar, in
front of and feeing the cross, and with his back to the people.
52 CHURCH SERVICE.
He does not remain there, however, during the singing exercises,
but retires to an adjoining room. The organ loft is in the sec-
ond gallery. The organ appears large, and shows in its outside
front (as nearly as I could estimate) two hundred and thirty
pipes. These are not gilded, as with us, but are of the natural
color of the metal. The choir for the ordinary service consists
of a few boys ; perhaps a man or two, though I believe usually
only boys. By the ordinary service, I mean that which includes
no music except singing of the hymns, or chorales, which is
always done by all the people. There is always an introduc-
tory motette sung by the choir, without any accompaniment ;
and when this is sung there is an extra choir, numbering say
forty or fifty, and all the parts are represented, boys singing
soprano. There is also, every other Sabbath morning, a mot-
ette by some of the great composers, performed with full
orchestral accompaniments; and for this the number of the
choir is still increased. But as soon as the singing is over, the
members of the orchestra and choir all leave, with the exception
of the boys, retained for the leading of the congregational chor-
ales. There is, in connection with this church, a school where
boys are fitted for the University. This school is large, and
employs about fifteen teachers. Provision is made for the gra-
tuitous education, and I believe support, of sixty pupils ; and
these charity pupils are the musical boys whence the choir is
sustained. They are regularly taught music, and are required
to sing on the Sabbath, on Saturday at 1^ o'clock, and at funer-
als. On Saturday regularly at tne hour mentioned, there is a
short service, and the choir commence it by singing one or two
motettes, without accompaniment. The same choir, with or-
chestra, alternate between the St. Thomas and the St. Nicholas
Church ; and the same motette is sung in one church which
was sung in the other the previous Sabbath. I have heard fine
ORDER OP SERVICE. 58
pieces performed by the choir, by Bachy who was formerly
organist here ; and they sometimes sing Palestrina ; motettes
by Mozart^ Haydn, and other modern authors, are often done.
Yesterday, Sunday, 29th Feb., I was at St. Thomas. There
was no motette with orchestra, on account of Lent. The ser-
vices were as follows ; the order is so different from ours, that I
have thought it would be interesting to many to have it given
in detail. I timed each piece, and give the time which each
occupied.
1. Organ 2 miDutes.
2. Motette, without accompanimeDt 9 "
3. Organ 1 "
4. Chorale 4 "
6. Liturgical service 2 **
6. Reading 2 **
7. Organ i **
8. Chorale 6 "
9. Reading ; 2 ** ^
10. Organ i^ **
11. Chorale 14 "
12. Sermon (about) 36 "
13. Chorale 2 «
The motette (2) may be found, with a free translation of the
words, at p. 290, Cantica Laudis, " Though all earthly joys
should perish " ; and this will give some idea of what kind of
music is done by the choir without accompaniment. The litur-
gical service (5) was chanted by the minister at the altar, with
responses by the choir. The reading (6) was also at the altar,
but the minister turned and faced the people. The reading (9)
was from the reading desk. Sermon (12) from the pulpit.
The ministers all wear a black robe, with a white surplice over
it, as well in preaching as in prayer ; also a large ruff, say two
54 THE GOOD ORGANIST.
and a half or three inches wide, round the neck, as is seen iu
portraits of the Keformers and clergymen of 300 years ago.
No fires in the churches, however cold. The service begins
punctually at | past 8 o'clock in the morning, and it requires
something of an effort to be up and ready on the morning of a
short and cold winter's day.
The following leading qualifications of a good organist, have
been suggested to my mind, and may find a place in this letter :
1 . He must be able to play his instrument. The degree of exe-
cution requisite will depend much upon the peculiar local circum-
stances of the congregation. In some churches, both in Roman
Catholic and in Protestant countries, an ability to play difficult
music will be required ; but in general, in our New England
churches, no very great execution or command of the instrument
is indispensable ; and organists more frequently fail from other
causes than from a want of skill in the technicals of their instru-
ment. If called upon for some criterion or standard by which
to try one's powers of performance, we might name Handel's
choruses, or say the series of Handel's choruses. One who can
play these has an abundant command of his instrument. It
must be understood, too, that we have taken a standard which
is rather high ; indeed, higher than is often necessary ; for we
have known very successful organists who had not the ability
to play Handel. In fe.ct, no great power of execution is neces-
sary for the- common purposes of the church service ; and it
may be also true that one who can merely play psalmody and
perhaps easy anthems, so as never to trip or touch the wrong
key, will be a more successful church organist than one who
can play John Sebastian Bach. Let it be understood that we
object not to great power of execution, but only say that it is
not essential.
2. A most important, nay absolutely essential qualification,
THE GOOD ORGANIST. 55
of a good church organist is, that he should have not only a true
knowledge of his office, its nature and design, but that he should
also possess a true feeling of sympathy and fellowship with all^
be they cleric or lay, who are engaged in the promotion of the
work in which he is caUed to take a part. The organ (like the
minister's voice or powers of eloquence) is to be regarded only
as a means to an end. This end should be kept constantly in
view ; . and in proportion as this is done, the organist will feel
that both himself and his instrument, with all musical science
and art, occupy only a secondary place. Any true musician
will have a sufficient love of music, and sympathy with knowl-
edge in science and skill in art ; but this is not the sympathy
we mean, though often mistaken for it. In short, if a man has
this sympathy, it will manifest itself in the love of the Sabbath,
the ordinances of religion, and the parts of public service other
than the musical. An organist who, after singing is over, leaves
the church, or gives no attention to prayers or sermon, what-
ever other excellencies he may possess, has not this of which
we speak, and cannot therefore be qualified for his work ; for
though one may have the gift of musical prophecy, or teaching,
and understand all mysteries and all knowledge, and though he
has faith to remove all mountains of difficulties, and has not
charity, or this love of the work to which he is called, and sym-
pathy with those who are also engaged in it, though in another
department, it profiteth him nothing. Shall I furnish another
name for the thing of which I speak 1 " The fear of the Lord
js the beginning of wisdom."
3. An organist, in order to be successful, must be a man of
good judgment ; or he must have good common sense in the
application of the powers of his instrument to the circumstances
of his situation. To be able to seize upon the surrounding cir-
cumstances, and when moved by them, to put forth the mighty
56 THE GOOD ORGANIST.
powers of his instrument, under the direction and control of a
well-regulated judgment, is a high qualification indeed ; never-
theless it is one without which no one can succeed well. Let
the organist then seek for that wisdom which is profitable to
direct.
4. An organist should have that control of himself which will
enable him to exercise self-denial. Any one who is fit for an
organist will, of course, love music ; his soul will delight in it ;
but yet, in the church, certainly, it should never be the object
of supreme devotion ; and one will find it often, very often,
necessary to make musical sacrifices to the great end of
organists and ministers, and churches, religion or religious
improvement Mere musical effect, the exhibition of Handel
or Mozart, be it repeated, is not that at which the organist
sliould aim. I know there are musicians who assert the con-
trary ; there are both organists and conductors of choirs with
whom music is supreme, and who openly contend for the doc-
trine that the best musical performance in itself considered is
the best adapted to church purposes, or, what is the same thing,
the most acceptable to God. That the best musical perform-
ance, all things considered^ is indeed the best, of course we
admit ; but there may be a very high degree of musical excel-
lence without any appropriate religious adaptation, and a man
may be a most excellent musician and organ-player who, for
want of judgment or self-control, or self-denial, is but a poor
church organist. Simple and unpretending strains, compara-
tively uninteresting in themselves, will often be the most
effective in religious worship ; indeed, if we are not mistaken,
it will be found, in general, that as religious feeling prevails,
and is intense or all absorbing, it seeks only for that musical
expression which is most simple and natural. A good organist
must therefore be able to deny himself the gratification which
EUTERPE CONCERT. 57
musical science or art in itself affords, and seek and obtain a
higher satisfaction in the promotion of the spiritual good of his
fellow men.
We need not proceed further ; for where the qualifications
already pointed out exist, there will be no danger but that oth-
ers will exist also, and that the individual possessing them will
succeed, and be useful and happy in his profession. Where
these are wanting, a Handel's genius, a Ba<jh's skill, or a Men-
delssohn's learning, will not be sufficient.
We add a simple remark. If congregations would take these
things into view when about engaging an organist, seeking for
other qualifications than those which are merely musical, many
difficulties would be avoided, and occasions would much more
seldom occur of trouble between organist and singers, or organ-
ist and ministers or people.
LETTER XI.
Musik-Vereins-Euterpe— Gluck— Cherubini— Bach— Part-Songa by Men's Voices—
Beethoven.
Leipzio, March 12, 185!^.
An excellent concert was given by the Euterpe on the 'even-
ing of the 9th inst. This orche^a, though regarded as inferior
to that of the Gewandliaus, is, nevertheless, fully competent to
put life into any of the compositions of the great masters ; it
can expound Beethoven, make clear his meaning, and bring one
into communion with his spirit, as was abundantly manifested
on the present occasion. It numbers ten violins on a part, five
double basses, an equal number of violincellos, and a complete
set of wind instruments. A perfect knowledge and command
3*
68 GLUCK.
of his instrument, a clear perception of the music to be per-
formed, and the will to do the exact thing necessary, in |he best
possible manner, seems to belong to each performer. A uni-
versal determination to succeed seems to prevail ; every man
is not only competent to the discharge of his duty, but is at his
post, watchful and ready, heart and hand, to put forth his whole
power, according to the circumstances, at the indication of the
baton. Why should not the result be satisfactory ?
A rich programme was presented this evening. The concert
opened with an overture which is a great favorite here, and
often played in public, though I have not heard it in America, —
" Iphigene in Aulis^"* by Gluck. It is a charming overture, and
any one's musical reputation might safely rest on the produc-
tion of a single piece like this. Its subjects are at once natural
and beautiful, and they are always treated in a most masterly
manner ; with elaborateness it is always intelligible, and with
copiousness it is never difHise. There is no departing from the
main topic of discourse, no wandering in the mazes of thick
darkness, or searching for ideas, but the leading thoughts are
kept ever before the mind, presented now in this form, and now
in that. Its analogies are perfect, its contrasts are striking, and
its light and shade are applied with the hand of a Raphael or a
Turner. It is full of pleasing melody, yet always subject to
the laVs of good taste, and manifesting both genius and science ;
it is in the performance, perl^ps, equally satisfactory both to
the musician and to the mere unstudied lover of song.
Tlie second piece was an extract (first and second movements)
of Cherubini's Requiem, written for male voices. This, which
is one of Cherubini's great works, was written xmder circum-
stances somewhat exciting, as I remember to have heard years
ago. On some funeral occasion when a Requiem was desired,
that which he had previously written was rejected, because
REQUIEM. 59
composed for a mixed choir ; this caused him to put forth his
energies, in the production of a mass for men's voices only.
The music throughout is of a very high character, though it
would not much interest those who desire musical gratification
only from pretty tunes or pleasant voices. The first movement,
" Requiem ojeternam^'* with its accompaniment of violoncellos
and double basses, is plaintive and sad, and tells only of sorrow,
penitence and grief. In the " Dies irae^'^ the full powers of the
orchestra are brought into requisition ; and uniting, as was the
case on the present occasion, with sixty well-trained and fear-
less men's voices, the effect was awfully grand and command-
ing. The majestic movements, the severely dissonant harmo-
nies, the wailings of the strings, the frightful appeals of the in-
struments of blast and percussion, and the cryings out of the
voices, all combined to produce an effect which was, at times,
truly terrific and overwhelming. The nineteen stanzas, how-
ever, have furnished an opportunity for musical contrasts
which have been well introduced, affording variety and relief.
The third piece was the very unique but, to the musician,
highly interesting " Concert far 2 claviere (c moll) Von J, S,
Bach. Following the Requiem, it was like a delightful calm
afler a storm, enabling one to realize where he was, to breathe
easily again, and put on a cheerful countenance.
Several part-songs were then sung by the ^^ Mannerchor'^
without accompaniment.
The second part consisted of the " Sinfbnie in C minor ^ by L,
Von Beethoven.^'* What a symphonic this is % We have oflen
heard it, and it is well known in America. We will not at-
tempt a description ; we listened with intense interest to the
whole of it, hardly daring to breathe in the piano and not hav-
ing the power to do so in the forte passages. Is it strange
then, that, whether " in the body or out of the body" at its
close^ we should not be able to tell ?
60 SCHUMANN.
LETTER XII.
Robert Schumann, the Composer — Clara Schmnann, the Pianist— Their Great Concert.
Leipzig, March 13, 1852.
The concert was given in the saloon of the Gewandhaus, by
Robert and Clara Schumann. The conductor was Robert
Schumann himself; the pianist was his wife. The orchestra
was large, and the best that Leipzig could furnish. Robert
Schumann has great celebrity, and especially in those cities
where he has resided and has brought out his music under his
own immediate direction. No one since Mendelssohn's death
stands so high in the estimation of the German musicians.
There are places where he is not known, because his music is
not understood ; but even in these, and throughout Germany,
he is regarded as standing at the very head of his profession,
and no one commands aa. he does the universal attention of
scientific men. Some go so far as to regard him as the great-
est symphonist that has ever lived ; but time can only determine
this.
The concert had been advertised for some time, and the ex-
pectations of the lovers of music were fully awake. Not only
were the musicians and lovers of music of Leipzig present, but
literary and scientific men of the various professions, and the
beauty, and wealth, and fashion of the city came to do homage
to talent of so high an order, and to learning so extensive.
Like the people at Lystra, so here, they lifted up their voices,
saying, not in the speech of Lycaonia, but in that of Saxonyj
^' The gods are come down to us in the likeness of men."
I suppose that in no part of the world is greater respect paid
to men of genius, talent or learning than in Germany ; and cer-
tainly nowhere else are musical gifts or attainments so fully
1
(
MME. SCHUMANN. 61
appreciated and so highly honored. Mendelssohn was wor-
shiped while he lived, and since his ascension his mantle seems
to have rested upon Robert Schumann. But it was not only
from this city that the audience was gathered on this occasion ;
it had been noised abroad that this concert was to be given, and
musical men of high standing, Kapellmeisters and Concertmeis-
ters, from the region round about, came up to Leipzig. Berlin,
Dresden, Weimar, and other places were represented. At the
head of this foreign company, and indeed at the head of the
whole company, was Listz ; — the very Listz himself came from
Weimar to listen, and to pay honor to greatness. But Robert
Schumann is not alone, he has a " help meet" indeed. Clara
Wieck was perhaps the most distinguished female pianist who
has ever lived ; and, unlike many ladies, she did not give up her
instrmnent when she became Clara- Schumann, but rather de-
voted herself with greater assiduousness under her new in-»
stnictor, than she had previously done under the teachings of
her father, to the profession which had been the choice of both
her husband and herself. No wonder that the people should
assemble on the occasion of a visit from this far-famed couple.
But they came not to hear any one sing or play on an instru-
ment, for although the wife is indeed a most accomplished pian-
ist, yet the husband neither plays nor sings ; but they rather
came to hear the new music that the master had produced.
They looked for some new musical revelation, for new chords
(if possible), or new progressions ; at least some new method
of treatment, or harmonic development was expected. It was
not to be the same tune over again. They went away satisfied ;
for, not only was the musical performance pronounced to be
one of the very best, but the music, or the principal piece of
attraction, was regarded as worthy of its author.
The first piece was the " Overture zu L, ByrorCs Manfred
62 SCHUMANN.
von E, Schumann,''^ This is an overture in the true learned
German style, and as unlike the overtures of the modem Italian
and French schools as can be imagined; of course, it caimot be
popular, that is, it cannot take with the people generally ; on
this occasion, however, it was fully appreciated and listened to,
by one of the most intelligent musical audiences that could be
brought together in Germany, with unmingled delight. The
second piece was " Concert No, 2, JF^ moll, fur Piano Forte mit
Begleitung des orchester, von F, Chopin^'' performed by Clara
Schumann. This is said to be in Chopin's peculiar style, and
one of his most difficult productions. Mad. Schumann played
it with apparent ease, and with a delicacy of touch and distinct-
ness of articulation not to be excelled. She has not so great a
power as some ; in this respect she resembles Chopin himself,
but in everything else requisite to the perfection of piano forte
playing she is fully accomplished. The third piece was a song
by Herr Behr, necessary for variety's sake ; after which Mad.
Schumann played most charmingly two pieces — ^^ Andantino
von W, Sterndale Bennett^'* and Liedohne Worte (F major), von
F. Mendelssohn Bartholdy."
The second part of the concert (and here was the attraction)
consisted of " Die Pilgerfahrt der Bose'^ (the pilgrimage of the
rose), a new composition for voices (solo and chorus) and orches-
tra by Robert Schumann. This has been performed here a week
or two before, and was noticed in a previous communication.
Anything like an analytical notice of it from one who has heard
it but once or twice would hardly be expected, and in the pres-
ent case it would be quite absurd. It will be known in a few
years. The orchestra never played better ; the idea of playing
under Schumann inspired every man with new life and energy,
and the improvement in the performance of the music under the
direction of the composer (there having been a previous rehearsal
}
Mozart's symphony. 6S
also under his teaching), was said to be very apparent. We
can hardly imagine a musical occasion that would be more in-
teresting or exciting especially to the truli/ enlightened musician
than this. For the few details here given we are indebted to
others, for -we did not attend this concert ; we neither saw the
sight nor heard the sound thereof. Why ? It was given on Sun-
day Morning, March I4th, at II o'clock.
LETTER XIII.
The Ck>ncerts—Gewandhaiia— David— Dreyshock—Rietz— Robert Schumann— Quartette
— Dupont.
Liipzio, March 14, 1852.
The last Gewandhaus concert was one of peculiar interest.
The hand was in the most perfect order, and the programme
was unusually attractive ; though great variety of music, both
with respect to authorship and character, is always presented
to the patrons of this celebrated series of concerts. The Si/m-
phonie was by Mozart in Eb major ; it is less noisy, flighty and
diffiise than some more modem compositions, but not less in-
telligible or beautiful. The adagio is particularly melodious,
elegant and attractive.
A scene and arie from "Orpheus," by Gluck, followed.
Gluck is a decided favorite here, and especially as a dramatic
writer stands among the very first.
The third piece was a concerto for violin, by Beethoven, per-
formed by Herr Concertmeister F. David. This concerto,
worthy the reputation of its author, was finely rendered by the
violinist, and received with a hearty applause. It is very long,
but it does not tire for it is full of variety, and there is enough
64 MENDELSSOHN'S ** WALPURGISNACHT."
to admire, both in the principal and in the accompanimen'.
Two quite long cadenzas^ composed by the performer, contaii
ing each an ingenious recapitulation of the thoughts, or ratho .
allusion to the various figures of the movement in which th*
cadenza occurred, were introduced, with excellent taste anr
skill.
The second part of the concert consisted of " Die erste Wa
purgisnacht^^'* a ballad by Goethe, set to music by Mendels
sohn. A choir of about one hundred and fifty voices sang the
choruses (and there is much chorus in the piece) with admira-
ble promptness and energy. The music is difficult, both for
vocalists and intrumentalists ; it is one of Mendelssohn's
strong pieces, and is full or his peculiar harmonies*. It is
mostly very loud, with an abundance of instruments of noise,
and extra double drums for earthquake, volcano, and thunder ;
though there is most acceptable relief in occasional piano pas-
sages. Although Mendelssohn does not belong to the noisy
school, yet he has shown in the Walpurgisnachtyth&t if he had
chosen to do so he might have cast quite into the shade, or
thundered out of existence, all the Verdis of modern times.
A charming Quartette performance was recently given by a
few of the very best artists here, as David, Dreyschock, (violin-
ist,) Rietz, and others whose names are less known. They
were assisted by a pianist from Munich, Herr Speidl. The
following pieces were played. 1st. Trio for pianoforte, violin
and violoncello, by Beethoven, (op. 70,) by Speidl, David, and
Rietz. 2d. Quartette for strings, composed by David. 3d.
Variations for pianoforte, by Mendelssohn. 4th. Quartette by
Beethoven, (op. 59,) performed by Dreyschock, Rongen, Her-
mann, and Rietz.
There are only four of these concerts in the annual series, so
that they arc much more rare here than in Boston. They seem
N
"der rose pilgerfahrt." 66
not to be so popular as the concerts by full orchestra, yet they
draw out a musical audience of great intelligence, and on this
occasion the learned ones were there. It is indeed a great
luxury to hear these choice works of Beethoven and others, so
perfectly given. The Quartette above mentioned (op. 59) is
well known, is always a favorite, and was on this occasion the
crowning piece.
Another recent musical performance of much interest was
on the occasion of the anniversary of a Singing Academy (So-
ciety) of this place. But one piece was sung, and that was a new
composition by Robert Schumann, " Der Bose Pilgerfahrt^'*
(Pilgrimage of the Rose,) an allegory by M. Horn, to which
Schumann has written music. The choir consisted of about
one hundred voices, well balanced as to the parts, with an effi-
cient orchestra; the whole directed by the Goncertmeister
David.
The music is mostly solo, though some fine chorus eifects are
produced, especially in a funeral scene, the "burial of a miller's
daughter." It is, throughout, highly scientific or learned, and
of course difficult. A very fine musician, Mr. Richter, teacher
of harmony and instrumentation in the conservatory, who was
sitting beside me, said, "Robert Schumann is truly a great
composer, but his music must be studied, and heard more than
once, to be appreciated ; we cannot understand it at the first
hearing." His opera, " Genoveva^'* failed — ^it is too learned,
and is now seldom performed. He writes for the musicians
rather than for the people.
Through the politeness of Mr. Moschelcs, I was permitted to
listen to a private performance of a pianist, who is just coming
into most favorable notice, Mr, Dupont from Belgium. He
has, say the critics, very great execution and delicacy of touch,
66 CHURCH OF ST. NICHOLAS.
and is regarded as approaching nearer to Listz, than any other
person. He intends a professional visit to the United States.
If all the musicians who go there are treated, as far as dol-
lars and cents are concerned, as was Jenny Lind, there will be
no lack of singers and " players upon instruments."
LETTER XIV.
Church of St Nicholas— Martin Luther— Singing by the great Ck>ngr^;ation— Second
Service— Small attendance. *
Liipzid, March 31, 1853.
A BRIEF account of a public service, or rather two services,
which I attended at the Nicholai kirche^ on Sunday, may per-
haps interest some of your readers ; at least they will see it is
quite a different thing from " going to meeting " in New Eng-
land, This fine old church was erected many centuries ago,
but it was greatly improved and enlarged in 1513, and again
repaired in the inside in 1796. A church record informs us
that on the 25th of May, in the afternoon, Dr. Martin Luther
preached in this house.
The first service commenced at 8 J o'clock in the morning ;
and as the mornings are short and dark in the winter season, it
requires some effort to be punctual. The church is a lai^e one,
and the stone walls and uncushioned seats are very cold, yet is
there no fire found there, save the burning candles on the altar,
which, though they shed some light around, afford no warmth.
It is not a Papal, but a Protestant church ; the LWherans use
the crucifix, candles, (Sec, though less than the Romanists. There
are two galleries, one rising high above the other, each capable
^^
LUTHERAN SERVICE. 67
of containing, perhaps, five hundred people ; so that the church
may accommodate, say three thousand, on its three floors. The
organ is large, with three rows of keys, pedals, and fifty-four
registers.
The exercises commenced punctually at the hour, by a short
prelude, played in fine organ style, but not more than about
two minutes long. This was followed by a choir piece, sung
without any accompaniment, by a choir of men and boys, and
without much efiect. The choir had not power sufficient for so
large a building. An interlude of a few minutes upon the
organ followed, when a chorale was sung by the congregation,
accompanied with full organ. The congregation was not yet
large, but the people were constantly coming in, and it was
fast increasing. Still the effect of the general singing was quite
animating. This being concluded, the minister began his part
of the service, by chanting a short sentence, which was imme-
diately responded to by the choir ; and again the minister, and
again the response. By this time the church was well filled.
From an estimate that I made, I concluded that there could not
be less than about twenty-five hundred people present. The
organ loft, too, capable of accommodating, perhaps, a himdred,
was completely filled with vocal and instrumental performers,
including the common orchestral instruments, with trumpets
and drums conspicuous. When the slow solemn chant was
ended, the organ burst out in a loud minor voluntary, which
continued three or four minutes, during which time the violins,
violoncellos, double basses, and wind instruments tuned. Yet
so carefully was this done, that it was hardly perceptible, for
the organ was giving out its full progressive chords, so as to
nullify the tuning process, at least upon the ears of the people.
Tune being secured, the choir, with organ and orchestra ac-
companiment, sung a motette, or hymn by Beethoven. This
68 THE MOTETTE.
had been announced in the newspapers of Saturday, and was,
I suppose, with many an object of attention. It occupied, per-
haps, fifteen minutes, and was very well done ; the drums* and
trumpets especially doing fine execution in the great church in
the forte passages. It closed with a short fugue, in which the
points were distinctly taken up and marked. The choir did not
number more than from thirty to forty persons, and had not
sufficient power for the building ; but still the performance was
quite effective. I perceived that while most of the people gave
close attention to the music, others were not so much interest-
ed, and one goodly-looking old man directly in front of me
spent the time in reading over his psalm-book. As soon as the
motette was concluded, the members of the orchestra took up
their instruments and lefl the house, having nothing to do with
the remaining service. And now came the grand singing — ^for
the great congregation were now together. The organ gave
out a choral, when all the people lifted up the loud chorus of
praise. The whole house was filled with sound. It was
sublime, and I found myself much more moved by this than by
the previous choir and orchestra performance. The hymn
(486) was indicated on tablets in different parts of the house,
and every person had his book in his hand. Even the standers-
up in the aisles (for there were hundrds of these) had their
books and joined in the song. The singing was in unison ; I
could not tell, being at the opposite side of the house, whether
the choir sang the parts or not ; the organ did indeed pour forth
full harmony, but even this was vastly overpowered by the
multitude of voices — ^men's voices, and women's voices, and
children's voices, mingled in one mighty torrent of sound, roll-
ing through the high arches like the rush of many waters. At
the end of each line of the stanza there was an interlude of a
few chords upon the organ, but there Vas no long interlude at
THE CHORAL. 69
the end of the stanza, as in the American churches. Indeed the
hymn seemed to flow along from beginning to end, as a whole,
and without interruption. I observed, too, that in the hymn-
singing I heard in England, the interludes between the stanzas
were very short, and often omitted altogether. A very pleas-
ing effect was produced at the close of this and every choral
hymn, thus : as soon as the voices ceased on the last word of
the last stanza, every head was inclined forward as in the atti-
tude of prayer, while the organ died away piano, in a very short
post-lude of perhaps half or three-quarters of a minute, the peo-
ple retaining their position until the last sound was heard, when
they gently resumed an erect posture. After this followed
liturgical prayers, read by the clergyman, for a few minutes ;
and then the chorale was resumed, another stanza or two of the
same hymn being sung to the same chorale as before. After
this followed the sermon. I did not understand it, biit if one
might judge by the appearance of the people, it was good, for
they all seemed to give close attention for at least three-quarters
of an hour.
When the sermon was ended, and a short prayer offered,
" Vater unser," the hymn was resumed again, and still another
stanza sung to the same tune as before ; so that the same tune
was sung three times in the same service, A closing prayer of
a few words, and the great congregation gradually dispersed,
amid the loud rolling of the diapasons.
At half-past 11, A. M., the second service was held in the
same church, i, e, about half an hour after the conclusion of the
first. It had been previously advertised that at this hour there
would be preaching by a divinity student. I attended ; the ser-
vice had already commenced, although there were only three
persons in the house. These three were the organist, the
singer, and one other person who was in the organ-loft (where
70 SECOND SERVICE.
I ventured to go), and who seemed to be also a looker-on. The
organ was playing with some sixteen or eighteen stops out, and
the singer was singing a chorale by himself (in unison !) with-
out a single person to hear or to be edified by the psalm.
I was the fourth person. Soon, however, two or three others
came in, and as the last stanza was drawing to a close, the min-
ister entered the pulpit from a vestry door. By the time he
began his sermon, which was as soon as the singing closed, the
congregation numbered in all, including the organist, the singer,
the minister and the sexton (who made his appearance when
the jninister came in), I believe, just twelve persons, six of
whom were seated in the body of the house near the pulpit,
and appeared to have come for the purpose of attending the
service. A short prayer was read before the preaching. The
sermon occupied about forty minutes, during which time sev-
eral persons came in and others went away, so that from the be-
ginning to the end of the exercises, from eighteen to twenty peo-
ple may have been for a part of the time present. The preacher
did not seem to be in the least disconcerted from the fact that
he was almost without hearers, but went on as though the
house had been quite full. The sexton seemed to enjoy it
much, as he had nothing to do, and the singer and the organist,
too, seemed to have no particular anxiety as to the effect of
the psalmody. The moment the sermon was ended, the min-
ister, preceded by the sexton, retired, and then, after they were
out, came the concluding song, which was a grand chorale, per-
formed vocally by the singer (in unison !) and instrumentally by
the organist, on sixteen or eighteen stops of his organ. I sup-
pose, too, that the six or seven persons below joined in the
song, but they did not add so much to the power of the chorus
as to enable me to say with certainty whether the singing was
by the congregation^ or by the choir only.
^
)
MUSICAL OONSEBVATOBY. 71
This account of the second service will appear so strange,
that I fear some of your readers may doubt whether the writer
is in earnest. I can assure them that it is strictly correct, and
that the service, and the whole of it, has been described just as
it occurred.
LETTER XV.
The Coitaervatory of Music at Leipzig, Germany.
Lkipzio, March 29, 1852.
Music has made so much progress within the last few years,
that the importance of a more extensive and thorough course of
education is beginning to be felt ; and this i^^pecially the case
with those who have made the greatest advancement. It has
not been generally known in our country, that there is enough
in music to occupy years of close application. The older sing-
ing books, published some fifty or eighty years ago, contained
a few pages of " Bules^'* giving some directions as to finding the
" mi," and describing the different kinds of time ; and a man
who could so explain these that no one could possibly under-
stand him, was thought to be musically learned. Many a time
have 1 heard the exclamation ; " What, devote his whole time
to music !" as if it was quite impossible that one could find any-
thing to study in it for more than an evening or two in a week,
for two or three months. Even now there are but very few
who have any just conception of the previous preparation, time
and labor necessary to thorough knowledge in the science, or
skill in the art. The subject is better understood this side the
Atlantic, and especially in Germany, where for ' many years
music schools similar to our law, medical and theological schools
72 MUSICAL CONSERVATOEY.
have been established. It is exceedingly difficult, nay, quite
impossible, to obtain a thorough musical education at present
in America ; for, although we have good musicians, they are
scattered about through the different cities, and one cannot avail
himself of their instructions but at great inconvenience and ex-
pense ; and it is found to be a cheaper and a quicker way to
come to Europe, if one is determined to make himself in good
earnest a musical student.
The inquiry has often been made : What are the musical con-
servatories of Europe? what are their advantages'? and how
may one avail himself of their privileges 1 With the design of
answering, in part, these questions, the following account of the
Conservatory here has been prepared. It has been written by
a young gentleman, a Bostonian, a graduate of Harvard Uni-
versity, now a musical student and member of the Conservatory
— ^Mr. J. P. When young Americans, having good natural
talent, favorable early musical associations, and a sufficient pre-
paratory education, shall devote themselves, like Mr. P., to the
thorough study of musical science and art, we may look for the
rapid progress and success of music in our land, and may hope
to realize some of the advantages for which it was designed.
" This institution was founded in 1843, under the patronage
of the King of Saxony, and with the valuable co-operation of
the Capelmeister, Dr.. Felix Mendelssohn Bartholdy. Its
reputation spread so rapidly, both in and around Germany, that
at the close of the first half year it numbered forty-four pupils,
thirty-three male and eleven female. At the commencement
of the second term, the number had increased to sixty. These
pupils are attracted thither not only from all parts of Germany,
but from Belgium, Holland, Denmark, Norway, Russia, Eng-
land and America.
MUSICAL CONSERVATORY. 73
" An institution like this, whose object is to give the student
a thorough foundation in all branches, the knowledge of which
is indispensable to every good musician, and to enable him to
perfect himself theoretically as well as practically, has this ad-
vantage over private instruction — that by the participation of
several scholars in the same immediate object of study,* it awak-
ens and keeps alive in them a true musical feeling, stimulates
them to emulation and hence to industry, and preserves them
from partiality or one-sidedness in the formation of their tastes,
a fault against which every artist should be particularly cau-
tious, during the progress of his studies. It has also the advan-
tage of cheapness. Each student pays about $60 a year, for
which he receives instruction in all branches. This moderate
sum, as one can readily see, must bear a very small proportion
to the expense of private instruction.
"The theoretical part of the education consists of a complete
course of three years. The pupils are divided into six classes,
and a new term commences every half-year ; though if one is
sufficiently prepared, he can enter any of the advanced classes
at the time of his admission into the Conservatory. The first
year is devoted to Simple Harmony ; the second to Harmony
and Simple Counterpoint ; and the third to Harmony, Double
Counterpoint, and Fugue. The study of Composition and Mu-
sical Form constitutes a separate branch, being under the charge
of a different instructor. It comprises all the different forms of
vocal and instrumental composition, with the analysis of classi-
cal works. There are also exercises in playing from score and
the art of conducting an Orchestra. The Italian language is
also taught to those who devote themselves principally to sing-
ing. Lectures are given twice a week by an eminent Professor
on the History and -^thetics of Music, and the science of Acous-
tics, with experiments. So much for the theoretical course.
4
74 MUSICAL OONSBBVATORY.
'Mn the practical branch also, mstruction is given in classes^
No limited course can be prescribed, however, as everything
here depends on the talent and industry of the sdiolar. The
vocal department is patronized mainly by females, and for
those who pursue the study, exercises in Declamation are given,
to improve their pronunciation, and fit them for the stage. The
instruments that are made the principal object of study are of
course Piano and Viblin, and each student is obliged uncondi-
tionally to devote hims^f to one or the other of these two.
The violinists are exercised in Solo, Quartet, and Orchestra play-
ing. The oigan is unfortunately not much attended to. Those
who desire to learn the common wind instruments, can do so
by paying an extra fee, though it does not form part of the
regular course. An opportunity is afibrded to those who par-
ticularly excel on any instrument to appear at some public per-
formance, either in orchestra, chorus, or solo.
" Besides the r^ular exercises, the pupils meet together one
evening in the week, and those who have studied any work to
the satisfaction of the teacher during the past week, perform it
for the benefit of the whole assembly. These soirees are at-
tended by the firiefids and &milies of the professors, and fre-
quently by distinguished artists who are visiting the city. As
for instance, the past fortnight, the students have been inspired
by the presence of the first of living German composers, Dr.
EoBERT ScflUMANir. He has twice honored these assemblies
with his presence, and several of his compositions were per-
formed in his hearing, at which he evinced great satis&ction.
His wife also accompanied him, and played several pieces.
This lady (formerly Clara Wieck) ranks among the first pian-
ists of the day, and certainly stands at the head of those of her
sex.
" Two examinations are held every year, one a private one,
MUSICAL CONSEBVATOBY. 75
at which the pupils are classified according to the progress they
have made, — and one, a public exhibition or concert, at which
the more advanced only are allowed to appear, either as com-
posers or performers. The privilege of attending the rehearsals
of the series of concerts that is given every winter in the ' Ge-
wandhaus,' as well as of most others, is also afforded to the
pupils.
" The government of the institution is entrusted to five gen-
tlemen, who are professed admirers of the art, and who discharge
their ofiice without compensation. The discipline is by no
means more strict than every scholar who zealously engages in
the study of music would willingly submit to. The regulations
are very simple, viz. : that the scholars shall attend regularly
the exercises, appear at no public performance without special
leave, and in general conduct themselves orderly and submit to
the direction of the Government of the Institution. Each pupil
on leaving the Conservatory, receives a testimonial or degree^
stating his time of study and his comparative proficiency in
"he art.
" As was said above, the expense is comparatively trifling,
and within the means of almost every aspirant for musical
knowledge. A fund has been given by the King of Saxony, by
which a limited number, whose means will not otherwise allow
it, can be educated free of expense.
" The professors of the Institution are such as enjoy a imiver-
sal reputation, and are many of them of Mendelssohn's own
selection and appointment. Among them are Moschbles, In-
structor of the Piano, David, of the Violin, and Hauptmann, of
Harmony.
" Such are the main features and advantages of this system
of musical instruction. It were to be wished most heartily, by
all lovers of music, that such an Institution could be founded in
MUSICAL CONSEBVATORY. 76
every large city of our own country. The rapidly-growing
taste of our good people seems to demand some such effort, and
from present appearances we may certainly encourage the hope.
Objections have been made to the system of instruction in
classes, but these are equally applicable to other studies as well
as music. To be sure, where a pupil in b, private lesson receives
the undivided attention of his instructor for the space of an hour,
in the class he receives individually only a fraction of the same.
But this comparatively trifling evil is more than counterbalanced
by the advantages, as we have above hinted. The pupil be-
comes acquainted with many different styles, sees the beauties
and the faults of each, and is imperceptibly led in this way to
the formation of his own. Again, by being constantly compelled
to perform before others, he cannot fail to acquire a degree of
confidence, which is beneficial and necessary to every public
performer. How often do we see an instance of «. private pupil,
when summoned unexpectedly to an exhibition of himself, com-
pletely thrown off his guard by the presence of an assembled
company, and so fer from doing himself justice, making a total
failure. If time admitted, we might enumerate many other
advantages, to the truth of which we can testify from personal
experience. As it is, for the present, our word must be taken
for it, and we can only conclude with the hope, that the little
insight we may have given into the system and zeal with which
exertions are made in Europe in the cause of this absorbing
study, may be of some slight assistance in stimulating our mu-
sical countrymen to similar endeavors."
The foregoing will be read with interest, especially by such
young men as are thinking of fitting themselves for the musical
profession. The time is past when one can expect to succeed
well, who takes up music and pursues it professionally without a
EXPENSE OP LIVING. 77
suitable previous preparation. It is not necessary, indeed, that
all teachers should be learned musicians ; many excellent teach-
ers in different musical departments there may be, who have
made but little progress in musical science ; but still we need
such as shall be able to pursue musical investigations, and give
tone to the general character of American music. Such we
shall have when men like Willis, Parker, and others whom we
might mention, devote themselves to the work.
In addition to what Mr. P. has said, we will remark in rela-
tion to expense, that it will cost a man about as much to live
in Leipzig a year as it will to live in Boston or New York a
year. One may, perhaps, live somewhat cheaper here, but this
is not realized often. And the young men who come here gen-
erally find the expenses considerably more than they had been
led to expect. Some live on four hundred dollars, more expend
six himdred, and it is not safe for one who has been accustomed
to city life in the United States, and who intends to attend the
concerts, (which is quite necessary,) to make his calculations to
get along with less than about eight hundred dollars per annum ;
and then he must not be disappointed if he finds himself minus
say two hundred dollars at the end of the year. But if a man
has tried it, and finds that he can live pn five hundred dollars
per annum in New York, then he may safely conclude that the
same sum will answer his purposes in Leipzig, or other German
cities.
In addition to the names of Professors given by Mr. P. we
will add the following, all of whom are to a greater or less ex-,
tent connected with the Conservatory : Richteb, Rietz, Pap-
pERrrz, Plaidv, Wknzel, Becker, Drbyschock, (violinist,)
Herrmann, and Klenoel.
Success to the youijg men of America, who, having the neces-
sary talent, shall devote themselves to the study and advance-
78 QEWANDHAUS CONCERT.
ment of musical science and art in our land ! By-and-bye, when
we shall have some Mart Lyon to devote herself to the work,
we shall have a Conservatory, with the buildings all erected
Bndipaidjbr^ like the Mount Holyoke School, in Massachusetts.
LETTER XVI.
The Nineteenth Gewandhaus Ck>noert— Robert and Clara Schnmann— Madame TncMk-
Herrenfouig of Barlin.
Liipzxo, Mafch 19, 1853.
The presence of Robert and Clara Schumann was enough to
attract a large audience. Anticipating this, our company, con-
sisting of three perscms, went a little before the time appointed
for the opening of the door ; but yet we found a crowd gather-
ed ; the room filled immediately as the door was opened, but
we succeeded in obtaining good seats. We had now to wait a
full hour before the music commenced, but in the midst of such
a multitude of good-looking and well-dressed ladies and gentle-
men, all in conversation in loud and merry voices, it soon passed
away. Half an hour before the commencement, the oboe was
heard, running the scales, &c. ; this was soon followed hjfag-
gotti, cami, clarionetH, and strings ; every man tuning and get-
ting his instrument and his fingers in readiness. Mendelssohn
seemed to look down from his bust immediately opposite the
orchestra with approbation. At hal^past six precisely, Kapel-
meister Rietz takes his stand — ^the signal is given— «very one
is silent and attentive, and Beethoven's overture (op. 124) fills
the whole company with delight. This is a very pleasing over-
ture ; it is less learned, but of a more popular character than
most of Beethoven's. It is often marked with a rhythm like
SCHUMANN'S SYMPHONY. 79
the music of the inarch or dance ; and the flourishes of the
brass instruments and drums almost lead one to suppose that
he is listening to a military band. But still the hand of the
master is seen, and although Beethoven comes down and freely
holds conversation with the people, yet he always preserves his
dignity, and never dishonors his profession in this pleasing com-
position.
A very good singer followed ; Frau Leopoldine Tuczek-Her^
renburg, firom Berlin, in a Recitative and Arie from the opera
of " Sylvana," by C. Maria von Weber.
This was followed by a grand Concerto for the Piano Forte,
with orchestral accompaniment (G moll), composed by J. Mos-
chelles, and played by Clara Schumann. I have already spoken
of Madame Schumann's playing ; her performance of this Con-
certo was perfect, and received the warmest approbation from
^e audience.
• An air of De Beriot followed, by Frau Tuczek-Herrenburg ;
after which Madame Schumann played most charmingly a Not-
tumo (B. major) for piano forte, by F. Chopin. In this she
was encored, and played in answer to the call another piece
unknown to the writer.
The second part of the concert was tJiat in whidi the musical
ones were most deeply interested, for it consisted of Bohert
Schumanfi^9 new Symphonie, This has not been published, and
was played from manuscript, conducted by the author, who was
cordially greeted on his appearance at the head of the orches-
tra. It is undoubtedly a work of great merit ; but it is truly
a great work, and can only be performed by a very thoroughly
trained band. Its analogies and correspondencies are deeper
and more hidden than in Mozart or Beethoven, but nevertheless
they are there, and can be discovered to some extent even at a
first hearing. The Symphonie consists of five movements, there
80 MUSIC HALL.
being in addition to the usual movements a short adagio (fourth)
introduced. In the second movement (scherzo), there is play-
fulness and relief, but throughout the whole the idea of great-
ness prevails ; so much so as almost to oppress one with a feel-
ing of grandeur and sublimity. The fourth movement espe-
cially seems to partake in the highest degree of this character,
and stirs up the deep feelings to awe and reverence. But vain
13 any attempt at description, especially by one who has heard
it but at a single performance. It was played with great ener-
gy ; every member of the orchestra had enough to do. The
captain inspired confidence, and the result was most satisfac-
tory. There was but a momentary pause between the parts,
and in this respect the learned conductor's example is well
worthy of imitation. The Symphonie occupied thirty-three mui-
utes in its performance, and at half-past eight the concert closed.
LETTER XVII.
Dedication of the Muaic Hall of the "Thomas School"— M. Hanptmann— CSionu
Singing.
Leipzig, March 32, 1852.
The "Thomas School" is connected with the Thomas Church ;
and the choir of the latter is obtained from it. John Sebastian
Bach was formerly Music Director here ; and he has been suc-
ceeded by several distinguisned men. The present incumbent
is M. Hauptmann, who is also Professor of Harmony in the
Conservatory. The place was procured for him by Mendels-
sohn, with whom it was a favorite object to gather aroimd him
men of science, and Hauptmann most deservedly ranks among
HAUPTMANN. 81
these. He is now everywhere known as one of the most pro-
found theorists living. He has also published Motets, and oth-
er pieces of Church Music, which are held in high estimation by
musicians. But there is something nwre attractive about Haupt-
mann than either genius or learning ; it is amiability. He seems
to be filled with kindness, gentleness, and courtesy ; and 1 have
met no German, nor indeed any one, in whose presence one is
made more perfectly at home, and by whom one is treated with
more affability and attention than by him. Although standing
at the very head of musical science, he has, as yet, published
no work of importance on harmony ; he says that he waits for
more experience, so that when he publishes a book, it may he
of some value, A good hint is this to some of us, who write
and publish works on the theory of music in the United States,
without knowledge and without experience. How often we see
verified the old saying (and frequently in musical productions),
that '' a little knowledge is a dangerous thing." Hauptmann is
now, however, engaged in the preparation of a philosophical
treatise, which he intends to give to the public in a few years.
His health is not firm ; he is a diligent student, and bodily in-
firmity is probably the result of severe and long-continued men-
tal labor. He is very popular, and is, perhaps, equally respect-
ed for his knowledge, and beloved for his goodness. He called
yesterday, bringing tickets to a musical performance, on the oc-
casion of the dedication of the Music Hall of the School. It is
not indeed a new hall, but an old one repaired, painted, and or-
namented ; it is in the same house where Bach lived, and is
the very room where Bach, Hiller and others labored and
conducted musical performances. Hauptmann now occupies
the same apartments which were formerly occupied by the great
Fuguist. The exercises, with the exception of a short address
by one of the pupils, were exclusively musical, as follows :
4*
82 SINGING WITHOUT ACCOMPANIMENT.
L Prayer. ** Eommt, lasset'uns anbetea" Hduptmann,
IL Motette. " Der Geist hilft unserer Schwachheit." J. 8. Bach,
III. Four part-songs : —
1. " O Thaeler weit, o Hoehen." Mendelssohn.
2. " O sanfter, suesser Hauch " Mendelssohn.
[The above may be found in the " Social Glee Book," and haye
been sung in the Boston Musical Conventions.]
8. " Waldeinsamkeit.** Hauptmann.
4. " leh stand auf.Berges Hoehen." Hauptmann,
lY. Motette. " Jauchzet dem Herrn.*' Schicht,
The singing was by the choir of the school and church, which
consisted of about fifty voices ; Soprano and Alto by boys. It
was entirely without accompaniment. A grand Pianoforte in
the room was only used to announce the pitch before each piece.
This singing most difficult music without accompaniment is
something wholly unknown with us in America. I know full
well that there are choirs and Quartet clubs who sing compara-
tively easy music in public without accompaniment ; but even
in this, what is often the result % Bach's music is exceedingly
difficult. Handel, in comparison to Bach, may be said to be
easy ; and yet our choirs could but few of them sing Handel
and sustain themselves well without instrumental aid. But
here is a chorus who stand up and sing Bach's and other most
difficult motets, the most difficult vocal music perhaps ever
written, by voices alone, with as much certainty as the sure aim
of an experienced marksman.
I think I have never before witnessed such devotion to the
work as in these singers. Here is indeed entire selfoommittal.
Every one throws all the powers he has, physical and spiritual,
into the performance of the music. Every tone is attacked
with a conscious certainty of success ; no matter how compli-
cated the rhythm, it is given with an energy and truthfulness
CHORUS SINGING. 88
tliat a first-rate violinist caa hardly excel. The singers seem to
have a perfect command of their vocal organs, and are no less
certain of results than is the accomplished pianist when he
strikes the keys, or the violinist when he draws the bow. There
is an entire absence of that sleepiness, drowsiness, inattention,
and foolish levity too often witnessed in our choirs. No look-
ing about, or whispering; or laughing, or silliness ; but close at-
tention is ever manifested. I wish I had words to point out
that consecration to die work, that deep, heartfelt interest which
these choir members seem to possess; so that it might be
sought for by our American singers. But we cannot obtain it
unless we use the appropriate means ; education only will do
it ; mufflcal training, such as we have but little idea of, must
go before ; and as we plant, so we shall reap in these things.
This choir is driUed daily ; five o'clock is the hour when they
come together every day for their lesson, or rather their trains
ing and practice. For so far as I have had opportunity to ob-
serve, the teaching here consists mostly in training. But I
must not enlarge. I have never before heard a vocal chorus so
prompt, so . energetic, and perfect in time and tune, as on this
occasion. The place, too, was holy ground, for all the great
musicians have visited that saloon ; Bach lived there as his
home, and Handel, and Hatdk, and Mozart, and Beethoven
have been there. A new portrait of Bach (or rather an old
one put in perfect order) has been placed at the head of the
hall, and opposite to it is a fine bust of Sohicht, who, though
less known, was a very profound musician, as his works testify.
On the whole, I have not attended a more interes^^ing musical
performance in Germany.
84 DISTINCT ABTIOULATION.
LETTER XVIII.
Distinct Articulation in Singing— Congregational Singing, with reference to the utterance
of the words.
Lbipzio, March 29, 1852.
The importance of a clear, distinct, tasteful, and appropriate
delivery of the words in vocal music cannot be too strongly-
urged. A good utterance of words is one of the elementary
technicals in singing ; as much so as is tone, intonation or time.
Singing combines both the elements of speech and of song, and
no one can claim to be a vocalist who has not cultivated as well
his articulating as his vocal powers. Teachers of singing
should urge this point as one of the greatest importance ; for,
whatever other qualifications one may possess, he canribt be
even a tolerable singer who does not utter his words with dis-
tinctness and propriety ; and no one sings well who does not go
further than this, and deliver his words with taste and elegance.
But, strange as it may seem, while this is a point of so
much importance, it is one which is much neglected, and one
would sometimes think, when listening to an untaught choir,
that the very elementary sounds, or powers of the letters, had
not been learned.- Instead of the clear, open, full vowels of the
language, we often hear strange and distorted sounds, which
seem to belong to mere animals rather than to men, and which
give to a chorus a feline or canine character, a mewing or a
howling altogether unworthy of the human voice. And the
consonants, too, are not less absurdly misplaced or omitted.
One principal reason of this neglect or abuse of language in
singing is that but little careful instruction has been given in
the common schools, until within a few years, in elementary
reading. But even where this instruction has been given, a
separate and distinct attention to the subject, in cpnnection with
DELIVERY OF THE WORDS. 85
singing sounds, is necessary; for we have sometimes known
professors of elocution (and most worthy ones) who made sad
wcrk of the language in their attempts to utter it in song. We
rejoice to know that teachers of music are giving this subject
more attention than formerly. At the Teachers' Institutes held
in Boston, teachers of elecution have been employed to lecture,
and in the musical conventions held in different parts of the
country instructions are given, which, if followed up with a
suitable practice or training, must lead to improvement. But
all the lectures and all the preaching in the world will not do
without careful and continued training ; and this must be done
under the direction and superintendence of one who is capable
of doing the work. If ministers or school teachers could be in-
duced to exercise our choirs in reading and declamation^ we
should soon witness improvement. Chanting and reading
simultaneously by choirs, are recommended as valuable exer-
cises in acquiring a good articulation of words. Than this,
there is no more important subject connected with singing-
schools and choral performance.
Is it possible to articulate words with as great distinctness in
song as in speech 1 Much depends upon the character of the song.
In plain chanting we think it can be done, and with equal ease.
In tunes of very simple rhythmic form, of a melodic compass that
is quite within the range of the singer's voice, strictly syllabic,
and fevorable as to movement, or length of tones, we think,
too, that the question may be answered in the affirmative. If
it be asked whether it is as easy for a choir of thirty or forty
persons to articulate their words as they may be articulated by
a good speaker, then we may answer the question by asking
whether it is easy for twenty or thirty persons to read a hymn
simultaneously, so that the words can be heard as distinctly as
when read by an individual ? Undoubtedly it is much more
86 CHOIR PRACTICE.
difficult for a choir so to deliver their words as that they shall
be clearly understood, than it is for a single person to do so.
When we use the speaking voice, we adjust it in all respects to
our immediate wants, or use it in that way in which a clear ut-
terance of the words is best promoted ; but in sonff we are not
at liberty always thus to use the voice, for here a melody or
tune has been prescribed, and it may be so high or so low as
to make it exceedingly difficult to connect words distinctly with
tones ; or it may be too soft or too loud in power, or too quick
or too slow in movement for this end; or all may be combined,
and length and pitch and power present an insuperable obstacle
to the singer's success.
In the application of this question to choir-singing, and
taking into view the nature or different characteristics of the
$pedking and the singing tones, we should reply in tlie nega-
tive.
Two inferences follow :
I. Much careful practice and thorough training are necessary
to enable a choir to sing well. The St. Thomas' choir in this
place, meet for practice every day at Jive o'clock ; the English
cathedral choirs sing together the service once in the forenoon
and once in the afternoon of each day. We cannot expect
then that any choir can do well with less than one or two
thorough, close, protracted drillings in a week. Choirs must
meet for practice, and really practice too, if they would speak
their words well in song, or sing well with respect to any of
the essential elements of vocal music.
n. Such tunes should generally be choser^for public worship
as are well adapted to the articulation of words ; and choirs
should not be willing to sacrifice the words to musical efifect.
It is &ot uncommon for congregations to desire the singing of
tunes in which the parts are so mixed up as to render the hear-
CONGREGATIONAL SINGING NOT ARTISTIC. 87
ing of the words impossible, and then blame the singers for not
speaking the words plainly.
Singers should strive to speak the words plainly, and strive
to do this without violating the laws either of musical or elocu-
tionary taste.
We do not believe that congregational singing can ever pre-
vail unless the essential elements of a good musical perform-
ance are given up. That is, we cannot have a good musical
performance (or what is usually understood to be a good mu-
sical performance) in connection with congregational singing.
History, and the actual state of things now existing, tell us that
such a general state of musical improvement as would be
necessary for this, is merely id^al, something imaginative only,
and not to be realized. We have heard congregational singing
in many places in the United States — south, and west, and east
— ^and also in different European countries, but (to say nothing
about taste) we have never heard it where the musical laws of
time or tune were observed ; nor have we ever heard it where
to a listener all would not be confused with respect to the
words. No two persons speak the words alike, or precisely at
the same time, both latitude and longitude are unknown, and
although the tide of rhythmic form forces obedience so far as
to cause the arvval of each one at the end of the stanza within
hailing distance of the others, yet the effect is almost always
quite Babelian,
From this view of the subject, or looking at congregational
singing as it has been, is now, and probably mil he, it follows
that where it prevails, no one will be able to hear the words
with any degree of certainty. But we must also consider that
where it prevails there is no one to hear the words. Every
one is engaged in singmg for himself, and has nothing apparent-
ly to do widi those around him. To be sure he is influenced
88 . IS OONGREf^ATIONAL SINGING DESIRABLE'
«
by the mass of tone, but of this he is at the time unconscious,
and worships as an individual. As there is no one to listen to
the words then, so their clear enunciation is comparatively un-
important.
This is also equally true of the other elements of good sing-
ing as it is with respect to the words. Everything that belongs
to taste in music must be given up as we enter the very
threshold of the coDgregational chorus; and even time, and
tune, and the articulation of tones and of words, cannot be ex-
pected.
But if such be the &ct, is congregational singing desirable ?
Go widi me to the Nioolai Church in Leipzig, and look down
from the upper gallery upon a congregation of fifteen hundred
or two thousand persons ; see them with hymn books open, ap-
parently unconscious of those around, listen to their rough and
uncultivated voices, in time and tune, or out of time and tune,
joining with the loud pealings of the deep diapason^, rolling
through the arches of the great building, and filling the whole
with a mighty chorus of sound ; mark the movings of your own
spirit, and you will not need an answer to the question from
another.
LETTER XIX.
St. Petei^B Church— Richter, the Organist— the Tomb of Bach— Chorals song at St
Peter's.
Lkipzio, March Si, 1853:
This is said to be the oldest church in Leipzig. The present
edifice which stands close to the eastern gate of the city, was
erected in 1507. It is, I should judge, about 120 or 140 feet in
ST. PETER'S CHURCH. 89
length, and only about fifty feet in width. There are double gal-
leries on each side of the house, with a space of only about
twenty feet between them ; besides which there are about
twenty private boxes or apartments, belonging, as I suppose, to
distinguished familes, who keep them locked, opening them
only for their own use. After the reformation the building
was for a long time unoccupied, and was not used for the pur-
poses of worship until 1710. When Napoleon was here, and
during the war of 1812 and 1813 it was used for barracks, and
afterwards as an hospital. In 1816 public worship was again
resumed, and has been continued to the present time. It is a
Lutheran church, and the service is the same or nearly the same
as in all the other churches. The musical director, Richter,
Pro^sor in the Conservatorium, is the Organist. I attended
service there this afternoon. At the precise hour the organ
prelude commenced; it continued two minutes, and the first
Lied immediately followed. There was no introit, or intro-
ductory motette as in the Nioolai and Thomas churches. The
choir consisted of thpee hoys and two men ; and beside these,
the organist, another person walking about in the organ loft,
and myself there was but one person present — ^a goodly old
lady ; so that when the service commenced, the congregation
in fact consisted of but one woman. It reminded me of the
clergyman who, when he had no one present but the clerk, took
the liberty to alter the prescribed form of the service, reading
not " Dearly beloved brethren" but " Dearly beloved Roger"
Here was an occasion then, when the singing was indeed congre-
gational. The members of the choir were all singing, the old
lady appeared to sing, and I joined the general chorus. The
organ was full and made up for any deficiency of vocal power.
I observed that in some stanzas the voices commenced without
the organ, and sung three or four syllables, when they were
90 MUSICAL ADAPTATION.
joined bj tbe full organ ; though in some other stanzas the
voices and organ were simultaneous in their commencement.
This, however, can have nothing to do with that which we some-
times call expression or the adaptation of the tune to the differ-
ent stanzas of the hymn, for no attention whatever is paid to this
subject here ; there is no variation of soft and loud, but every
stanza is loud, and is apparently sung and played without the
slightest reference to the principle above mentioned. Indeed
the principle of. adaptation (as generally understood by us in
the United States), seems not to belong to the Congrega-
tional style of singing. The minister, who was not present
at the commencement of the service, came in during the
sbgmg of the last staaza, faoed the cross upon the altar for
a few moments, and then turning towards the people (by this
time numbering perhaps between twenty or thirty), he com-
menced the responsive chanting service. His first sentence
is confined to about half a dozen words, whidi are given in the
tones three and five of the scale ; this being responded to by
the choir, the minister chants quite a long sentence, after which
the choir respond Amen. The response closed upon^ve of the
scale, ascending to it by the sharp four — ^thus five, three, sharp
fimr,five. After this the minister read about two minutes —
the people rising. This was followed by the organ, and an-
other hymn. The minister retired the moment he had finished
reading (prayer) and was not present during the singing that
followed ; but at the close of the hymn, as before, he came in
and read a scriptural lesson ; again he retired, and again the
organ announced another choral. By this time some fifty or
sixty persons had assembled, and they succeeded in raising
quite a chorus. At the close of the last stanza the minister ap-
peared, not at the altar, but in the pulpit, and after half a dozen
words of prayer, commenced his sermon. And now the choir,
ST. JOHN»S CHURCH.
91
^ree bops and two men, took their turn in going out ; as the
minister seemed to have nothing to do with their part of the
service, so, I suppose, they were alike relieved when he began
to preach. Considering myself by profession and long habit as
more nearly allied to choristers than preachers, and especially
as I could not understand what was said, and as I could retire
without being noticed, and widiout disturbing others, I £>llowed
their example.
Last Sabbath I attended dmreii at St. John's, an old building
a litde way out of the city ; but the service was the same.
Around this church are many old monuments, and in the cem-
etery was buried Jomr Sebastian Bach. The exact place of his
interment is not known.
That your readers may have a more exact idea of what the
tunes are which are sung here, (and they are all of the same
character,) I send you a copy of two which I heard at St. Peter's
this day. They are sung in slow time, pausing on the last note
of each line.
WIE SCHdN LEUCHTUNS DER MORGENSTERN.
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LETTER XX.
Oonoert by the PapiU of the Conservatory— Original Overtures by the Papils.
LBiPZio,April 2, 1853.
Last evening the saloon of the Gewandhaus was crowded to
listen to the pupils of the Conservatory. Concerts are occa-
sionally given, perhaps once a quarter, or once in six months,
under the direction of the Professors, in which the pupils give
specimens of their proficiency in the composition and in the
performance of music, vocal and instrumental. The weather
was very unfiivorable ; but notwithstanding the rain, the house
PUPILS' CONCERT. 93
was crowded : indeed some persons could not find admission.
Tickets are not sold, but are given away by the teachers and
pupils to their friends. The orchestra at such times is in part
made up of the pupils, deficiencies being supplied by professors
employed for the occasion ; of course they have an efficient
band. David and Dreyschock were at the head of the violins.
MoscHELES condtlcted the pianoforte pieces ; David conducted
the violin concertos ; Reitz conducted the songs ; Richter con-
ducted the chorus rftusio, and the respective authors themselves
conducted the overtures. Tliere were two original overtures
performed :
I Overture for Orchestra,' composed by W. Fbederio Nioolai, of Ley-
den, Holland
IL Overture for Orchestra, composed by Heinbioh von Sahr, of Dresden,
Saxony.
Both of these overtures were highly creditable to the young
men, and were well received ; the last, perhaps, being the most
meritorious production. The other music consisted of selections
from various authors, as follows :
PIANO FORTE MUSia
L Concerto for Piano Forte "with Orchestra, by Beethoven, (C Minor,
first part,) performed by Wilhelm Gerbig, of Almelo, Holland.
IL Trio for Piano Forte, Violin, and Violoncello, by Mendelssohn, (No. 2,
Minor,) performed by three pupils, Fraulein Laura Boerngen, of
Verden, Hanover ; Herr F. George Haubold, of Leipzig ; and
Herr Gruetzmacher.
IIL Grand Sonata for Piano Forte, (F Minor, op. 64,) by Beethoven, per-
formed bj Fraulein Rosalie Hirschfield, of Danzig.
VIOLIN MUSIO.
L Concerto for Violin with Orchestra, by Molique, (A Minor, No. 5,
first part,) performed by Herr George Japha, of Eoenigsberg,
Prussia.
94 PUPILS' OONCEET.
IL Afiilitary Concerto for Violin, -with Orchestra, by Lipinski, (first part,)
performed by Herr Carl Hahn, Nuremberg,
IIL Introduction and Variations for Violin, with Orchestra, by David, per-
formed by Herr Wilhelm Langhanns, Hamburg.
VOCAL MUSIC.
L Aria, from Stradella, sung by Franlein Anna J&iasius, Leipzig.
IL Aria, by Rossini, (Barber of Seville,) sung by Franlein Marie Kuehne,
Magdeburg.
IIL Recitative and Aria, from Figaro, by Mozart, sung by Fraulein Marie
Grohmann, Magdeburg.
CHOIB MUSIC.
The IS'Ith Psalm for Soprano Solo, Choir and Orchestra, by E. F. Richter.
Such was the music of the school exhibitioD, and it was in all
respects highly creditable to the institution. The students are
from various parts of Germany and England ; and for the last
few years America has also been represented. Such an institu-
tion is much needed in our country. A Conservatory of Music
upon a proper basis, and under suitable regulations, would do
much for the advancement of a pure style, and correct taste.
It would be to music what the Normal Schools are to education
generally ; would raise the standard of musical education, and
the qualification of music teachers; and put forth an influence
in many ways to promote the cause of secular and sacred,
vocal and instrumental music in the land.
^
SCHUMANN AND MENDELSSOHN. 95
LETTER XXI.
MemlelflBohn and Bobert Schomaim.
Bkkun, April 5, 1852.
In a recent number of one of the musical pi^rs in New York,
Robert Schumann is said to be an imitator of Mendelssohn, A
strange charge, indeed, and one that could not be made by any
who had heard some of the principal productions of the two
writers.
These two original composers have both established schools
of their own ; quite unlike each other, or any one else. Bobert
Schumann is a little the older of the two, though they were
contemporaneous for many years, or during the whole of Men-
delssohn's professional life.
It is said they were always intimate and friendly, although
each one had his friends ; and these friends of the parties of
course differed with respect to the merits of the two composers ;
but we believe that neither was ever charged before with being
an imitator of the other. If there has been any original com-
poser of music in latter times ; one who has penetrated &rther
into the unexplored region of harmony than any other, that man
is, we suppose, Robert Schumann. At least he has this repu-
tation among some of the most learned musicians of Germany.
He is quite unlike all other composers, ^d while he has imita-
tors and Mendelssohn has imitators, it cannot be said in truth
of either of these distinguished men, that he is an imitator of the
other. As well might it be said of Shakspeare that he is an
imitator, or of Milton, as of Schumann. Both as it respects
Jbrm and harmony, these authors differ widely. Who that has
ever listened to a symphony by Schumann would compare it
to a like composition of any other writer ? Surely, no one.
/
96 SCHUMANN AND MENDELSSOHN.
The difference between Schumann and Mendelssohn has been
the subject of no few criticisms and discussions ; but all truly
learned musicians acknowledge that they not only walk in a
new path, but that they both are truly original — ^investigators
of nature — ^searchers-out of things not before discovered — ^ad-
vancers of scientific knowledge, Robert Schumann is generally
regarded as the more deep, and difficult of interpretation, Men-
delssohn, indeed, wa^ not understood at first ; but he is now
well known, . So too of Beethoven, some of whose works are
mysterious even to this day. It also requires such a well
trained and talented orchestra to represent Robert Schumann
as is not everywhere found ; and even when he is interpreted
by an orchestra fully competent to the task, with all the hints
that he himself can give as conductor, the best musicians cannot
fully comprehend him at a single hearing. Since Mendelssohn's
death, Robert Schumann seems to stand at the head of the Ger-
man school. It is not wonderful that a disciple of Donizetti or
Verdi should not like Schumann, or that a child should not re-
ceive pleasure fi'om the reading of a profound and learned work;
it is not surprising indeed that Schumann is not favorably
received by many good musicians, for even Beethoven was
rejected for many years. How long was the Philharmonic of
London in decyphering his ninth *? Several years, to say the
least. One should be careful, and be certain that he knows
what Robert Schumann is, before he ventures to charge him
with being an imitator of the highly gifled and talented Men-
delssohn, or of any one else. That Robert Schumann is an
original composer, a musician will not deny ; that his composi-
tions are not designed to please the unlearned in music, is also
true ; but that he will be admired whenever he is truly inter-
preted, cannot be doubted.
BEBLIN. 97
LETTER XXII.
Berlin— Wilhelm Bach— Symphouie Ck)noerts and Orchestral Music— MUitaiy Music—
The "Tod Jesa" by Graun, the "Passion Music" by Bach, and the "Seven Words" by
Haydn.
Bbklin, April 9, 1852.
This is one of the finest cities of Europe, and is said to be
one of the four most splendid cities in the world. Its palaces,
statues, and monuments, including those of Charlottenburg and
Potsdam, are magnificent ; and with its museums, library, and
paintings, are full of historic interest. Frederick the Great is
everywhere to be seen. He is to Prussia what Napoleon is to
France ; his name is on the tongue of every child, and his me-
mory seems to be even more sacred here than is that of Wash-
ington in America. His monument, lately erected, at an ex-
pense of about a hundred thousand dollars, is regarded as the
greatest work of the kind of modem times. Would that a
similar monument to the memory of Washington stood in each
of our large cities in America ; its moral power would be great
and good. Drawings of it are everywhere to be seen ; I will,
therefore, only remark concerning it, that in one of its group
of statues, among the literary and scientific men of the age and
country, as Lessing, Kant and others, is seen that of Graun,
well known to the musical world, Graun is honored here, as
Bach in Saxony, or Handel in England ; though among all the
names of German musicians, that of Bach takes rank, perhaps,
the highest. That he was a most profound writer, and that his
Fugues especially have never been equalled, is, we believe, uni-
versally admitted. His passion music is perfonned at this sea-
son of the year in the principal cities; Having been in Berlin
but a little more than a week, and at a time when there is less
music than usual (passion week), we cannot report very fully ;
6
98 WILHELM BACH.
but we must not omit to tell our musical fiiends of some of
the things we have heard or seen.
WiLHELM Bach, now probably nearly seventy years of age,
is of the family of the famous John Sebastian, of whom he
has several interesting relics. He has long been a music-direc-
tor in Berlin, and one of the finest organists in Germany. He
is a professor in a school for church-music here, which is under
the patronage of the government. The school has a good num-
ber of students, although other institutions which have more re-
cently arisen have drawn considerably upon it. We called upon
Mr. Bach in 1837, accompanied him to the school, and also to
the church, where we had the pleasure of hearing him play the
organ for nearly an hour. We remember a fine compliment
paid to Mr. Bach by the celebrated organist, John ScHNsmEB,
whom we afterwards met in Dresden. When on the way from
Mr. Schneider's house to the church where he was about to
play, he said, " I will play for you some of Bach's fugfces."
"Thank you, sir," we replied; "we are always delighted .to
hear these charming organ pieces, and had the pleasure a few
days since of listening to several of them as performed by Wm.
Bach, of Berlin." " So P said Schneider ; " if you have heard
Wilhelm Bach play Bach's fugues, I will play something else,
for I do not like to play the same music which you have heard
by so excellent a performer as he is." Mr. Bach is not
only a very thorough and scientific musician, but also a very
gentlemanly man. He had a perfect recollection of our former
call, and was as ready now as then to exhibit his old manuscripts
and musical curiosities, and his conversation was filled with an-
ecdotes and historic recollections and instruction. It was pain-
ful to part with one so cheerM, pleasant, learned, and accom-
plished, after an interview of one Jiour, feeling almost certain
that we should not meet again on earth.
BEBLIN OBCHESTBA. 99
We had an opportunity of attending only one Symphonie
Concert, or " Grand Concert Serieux,''^ The orchestra was not
large (three contra-Basses with other instruments in propor-
tion), yet they played well, and gave fine character to the Over-
tures to Don Juan by Mozart, Egmont by Beethoven, Ruy Blass
by Mendelssohn, Jessonda by Spohr, and also Haydn's Sym-
phonie, G major No. 3. The orchestra of the Royal Opera House
is of course excellent, and ranks with the best in Europe. Yet
we did not see that it was much superior to that of the
Leipzig Gewandhaus. It is somewhat larger, and its pianos
are, perhaps, more piano, and its fortes move forte, llie great
points of excellence, as quality of tone, blending of the differ-
ent instruments. Piano, Forte, Crescendo, Diminuendo, Sfort-
zando, Syncopation, &o., are most perfectly brought out, and
the most &stidious hearer seems to be compielled to say,
enough.
An excellent military band plays daily at eleven o'clock. It
contains about sixty instruments, and we were truly glad to see
that the use of the old-&shioned military band instruments is
continued. Here were Oboi, Faggotti, Olarinetti, Comi, as well
as all the modem brass instruments. The band usually play
an overture and one or two smaller pieces daily, at the hour
above mentioned; and in its performances, it is sufficient to
say, that the characteristics of good orchestral playing are care-
fully observed.
Throughout Germany three great compositions are performed
at this season of the year. Thus, the present season the " Pas-
sion Music" and the " Last Seven Words" have been given in
Leipzig. The "Passion Music" and the "Tod Jesu" have been
performed in Berlin, and one or both in Dresden. We were
so unfortunate as to lose both the " Seven Words" and the
" Passion Music," but have had the satisfaction of hearing the
100 "TOD JESU" BY GRAUN.
" Tod Jesu" twice in Berlin. It is a learned work, not design-
ed for amusement merely, but rather to paint with a deep color-
ing, the death scene of the Saviour of the world. It is, in gen-
eral, too serious for a popular audience. " It is quite tedious,"
said a German lady to me, " but yet it is very grand." It does
not afford sufficient immediate musical gratification for many ;
indeed it appeals to a higher principle than that of the mere
sensuous, — even to the religious ; and to appreciate it, one must
be both musically and religiously educated and inclined. Mod-
em musical taste, especially in our country, is of too light a
character for Graun or Bach, and for the great religious works
which we have mentioned ; and then again, religious emotion
has been too much separated by our educational habits from a
musical form of utterance or expression; indeed, the nasal
twang of an uncultivated voice has sometimes been regarded
as more natural and appropriate to the expression of religious
feeling than the most pure and musical tones.
The " Tod Jesu" was performed on Wednesday by a choir
and orchestra under the direction of Julius Schneider, in the
Gamisonkirche ; and on the Friday following by the " Sing
Academic" of Berlin, in their beautiful Hall. It was well done
on both occasions, but was much the most effective in the "Sing
Academic." The choir was in excellent order, and consisted
of about two hundred vocalists ; the solo singing, though not
by great artists, was all in good style and keeping, and the or-
chestra were fully adequate to the work they had to do. The
recitatives were accompanied by the pianoforte, and the songs
and choruses by the orchestra. There was no organ on either
occasion, and I find that it is not common to unite the organ
with a choir performance. If an orchestra play an overture,
they are not supposed to need the support of an organ, and if
a choir sing a vocal motette, they are supposed to be able to
EASTEB SUNDAY. 101
sing it independent of instrumental aid ; so that the organ is
seldom heard, except when it is telling its own story, or sus-
taining and leading along the great congregation in the choral
songs.
Every seat was occupied ; indeed it was necessary to secure
tickets a day or two previous to the performance. The king
was there, and both the sovereign and the people seemed to en-
ter into the spirit of the music. The house was perfectly still,
and there was not the slightest indication of applause ; not be-
cause the music was not well executed, but because the usual,
method of manifesting approbation seemed to be inappropriate
to the solemn state of feeling existing. It seemed indeed to be
an occasion of deep solemnity ; all the members of the choir,
male and female, were dressed in black, so that an appeal was
made, through the eye as well as the ear^ to the religious sym-
pathies in view of the sufferings of the Son of God. I shall
not attempt any analysis of the " Tod Jesu." With the excep-
tion of one chorus, and Luther's chorale, it is, I believe, quite
unknown in America ; the chorus to which I refer may be found
in the " Boston Academy's Collection of Choruses ;" I do not
remember the words, but it has been very popular and much
sung, and is the only piece by Graun in the volume. More of
Berlin in my next.
LETTER XXIII.
Eastw Sanday— Music in the Catholic aod Protestant Churches— The Picture Gallery-
John Schneider, the Organist.
Drksdkn, April 12, 1853.
Yesterday being Easter Sunday, we were awakened at early
day-light by the ringing of bells, and the discharge of cannon.
The day was ushered in, much in the same manner as is the
102 DBESDEN.
4th of July in America. I liked the music of the bells, but the
cannon seemed to be less adapted to the occasion. At 8 o'clock
I attended the Frauen Church, a very large circular building,
having four galleries all around, and in some five and even six.
The Organ, which is powerful, stands very high over the altar ;
perhaps thirty feet from the floor. A fine? introductory volun-
tary, full of joy, was played, closing with a very lively fugue;
after which the people sang a chorale. At 9 o'clock we went
to the Kreuz-Kirche^ where we heard an ostercantate with full
orchestra, composed by Theodor Weinlig. It was brilliant and
joyful as can be imagined ; the trumpets and the drums being
fully employed throughout. At 11 o'clock we attended the
Catholic Church, where Grand Mass was performed ; the music,
by Jffesse, was sung by a very good choir, accompanied with an
efficient orchestra. It was brilliant and exciting, and occupied
a little more than an hour. Both the cantate at the Kreuz-
Kirche, and the Mass at the Cathedral were well done, though
far inferior to the performance of the Dom-Chor, Berlin. In-
deed, the two were so different in style as not to admit of com-
parison. The music of the Berlin choir was churchlike in its
composition, and it was exclusively vocal ; whereas, here the
music was of the modem secular character, and was rather
orchestral than vocal. The trumpets and drums (with other
brass instruments) were in constant requisition; and more
brilliant and animating flourishes of these instruments I have
i^ver heard. The whole musical performance made its appeal
to lower principles of taste, than did the singing of the J)om-
Chor, That was, intellectually and tastefully considered, mu-
sic of a high order ; whereas, in this the strains were more
common, adapted to the popular ear, and had much the appear-
ance of mere show or exhibition. That was ecclesiastical, relig-
ious music ; this was was secular, like that of most of the
V^4
GALLERY OF PAINTIKQS. 108
productions of modem composers of Masses^ Te Deums^ and
other vocal music with orchestral accompaniment '^
The congregational singing in the Kreuz-Kirche was excellent,
that is, excellent congregational singing; but the organ was
played with mighty power, and without variation of Piano and
FbrU. It seemed to support, bind together, and lead the peo-
ple, who bore a somewhat similar relation to the oi^an, to that
which a large factory wheel does to the water power by which
it is moveS. It seemed almost to take away f^om the people
voluntariness or free agency, and to compel them onward in
their song. It was certainly impossible for any one to commit
any overt act of sin against the laws of time and tune, during
such a torrent of sound as that which the organ poured forth. .
In the afternoon we heard, in the Ereuz-Eirche, an ostercantate
by Berg, and a fine Te Deum by Naumann, both in the modem
orchestral style, brilliant and dazzling. It was a day of pleasure,
and the Concert-Gardens, Opera, and other places of amusement,
were well patronized in the evening.
We must leave our readers to imagine whether feelings relig-
ious—of gratitude to a risen Saviour, or those of a more worldly
or sensuous character, were called forth by the scenes of the
day. It seemed to us somewhat different from the manner in
whidi Paul would have rejoiced in the contemplation of the
resurrection.
The Picture Gallery is regarded as one of the best in Europe,
and contains choice specimens of the old masters. The grand
picture of the collection is, the Madonna di san Sisto, by
Raphael ; but there are many fine pieces by Correggio, Titian,
Ouido, Meuhens, and others of difierent schools. It is most
interesting to stand and gaze on the works of those great mas-
ters of which one has always heard and read ; but instead of the
day or two which a traveler has to bestow, months and years
104 SCHNEIDER, THE ORGANIST.
could be devoted to this one collection, and indeed are neces-
sary to any proper appreciation of such works of art as are here
exhibited.
Many things in this beautiful city are well worthy of atten-
tion, some of which we visited ; but it is of musical things only
which we design to write.
The Opera in Dresden is good, though inferior to that of
Berlin ; the conductor is Carl Krehs^ who is regarded as very
able, and a very thorough musician. One of the best German
Tenors resides here, and is a member of the regular opera com-
pany, viz. : Herr Tichatscheck. •
No lover of the organ should pass through Dresden without
hearing the celebrated John Schneider. He is an organist of
the old school, and probably no one ever lived who had a
greater command of the instrument. We made up a little
party, and having previously called on Herr Schneider, went
by appointment to the Sophrine-Kirche, (the church of which he
is the organist,) where we had the pleasure of hearing him for
a little more than an hour. He played five of the fugues of
John Sebastian Bach — ^he cares not to play other music. Bach
is his musical Bible, and he has read him so much that he has
ceased to take pleasure in inferior or uninspired writers. Bach
is musical truth, unmixed with error ; it is really interesting to
see with what enthusiasm his works are spoken of, played, and
heard by the German Musicians. Herr Schneider used no
fancy stops, made no see-sawings with the swell, no contrasts
of reeds and dulcianas, no high-diddle-diddles in his playing.
His appeal is always to the intellectual musician. His great
point of excellence, we suppose, is his legato touch, by which
the chords are bound together, or melted into one continuous
flow of harmony. Would that our young organists could hear
such playing, even from childhood upward, so that they might
be " trained up in the way in which they should go."
THE DOM-OHOR. 105
LETTER XXIV.
The Dom-Kirche, or Cathedral— The Exercises.
Berlin, April, 185!3.
There is no choir of music in Berlin, and perhaps none in
the world equal to that of the Dom-Kirche, or Cathedral. This
choir is vei*y celebrated ; it is the same choir, a part of which ^
gave concerts in London in the summer of 1851. It is said to
be even better than the far-famed choir at Rome. We attend-
ed three distinct services at the cathedral, and heard the choir
each time. It consists of about fifty singers ; the treble and
the alto parts are sung by boys. It is arranged in double
chorus, and the music of the old composers, in eight parts, is
often performed; so that one may hear Palestrina, Lotti,
Durante and others of the Italian school ; Bach, Graun and
others of the German school, together with the best modem
authors. We infer from their collections of music, however,
that they confine themselves almost exclusively to the ecclesi-
astical style, for we find their books contain nothing in the man-
ner of Haydn's or Mozart's hymns, motets, or masses, or like
other modem orchestral vocal music. The choir is entirely
professional — that is, the singers are such by profession ; they
have learned to sing, and that is their business or calling.
The boys who sing the upper parts are trained daily, and are
preparing in their turn to be professors, teachers and composers
of music, vocalists or instrumentalists, here or elsewhere. The
parts are, of course, well balanced as to power, and the chorus
of men's voices (tenors and basses) singing in unison, as they
often do, is peculiarly grand and effective. In addition to the
regular dioir, there is a preparatory department, consisting of
some twenty or thirty fine-looking little boys, of from eight to
5*
106 CATHEDRAL SERVICE.
ten years of age. These are candidates for future membership,
and form a juvenile choir ; they stand on one side of the choir,
and lead in the congregational singing, thus affording relief to
the regular choir, and giving them time to breathe and recruit.
We have said that these boys stand; this is equally true of
others, for there are no seats in the organ-loft, and the members
of the choir all stand during the whole service. The various
exercises are distributed between the choir, the people, and the
minister, so as to hold the attention and keep all employed.
Those parts of the service which are performed by the choir, or
by the people, are sung, and the part belonging to the minister
is read. In this respect, the service is unlike that of the
Lutheran churches in Saxony, where the minister's part is
chanted, or uttered in singing tones. The musical forms of the
choir performance are motets, (anthems they would be called,
perhaps, with us,) short responsive sentences, in harmony parts,
or unison, or a plain syllabic chant, with Hallelujahs, Hosannas
and Amens. The poetic forms are mostly from Scripture,,
though sometimes metrical hymns are simg by the choir, but
these are usually sung by the congregation. The musical form
of the congregation is, of course, that of the chorale, and is Old
Hundredth, St. Ann's, or York-like. The congregational tunes
are sung much slower than we heard them in England, and
about the time similar tunes have been generally sung in Ameri-
ca. There is not an instant during the service that is unoccu-
pied, one exercise following another without the least pause, so
that the minister's voice seems to be joined on to the choir per-
formance, or to the organ, or vice versd. There is no inter-
ruption of the devotional exercises, by rubrical directions —
"Let us sing," "Please to sing," "Omitting such and such
stanzas," or by reading over a hymn before it is sung, as with
us ; the hymns to be sung are known the moment one enters
/
CATHEDRAL SERVICE. 107
the church, their numbers being suspended on tablets in various
^ parts of the house, so that they may be seen by all : and the
Articular hymn thkt is about to be sung, or that is be^ sung,
is known by the tablet in front of the organ-loft, which contains
the number of that only, so that any one coming in after the
service has been commenced, has only to turn his eyes towards
the choir-tablet, and he knows immediately where to find his
\ place. The organ is not played when the choir sing, but is used
only for voluntaries, intermediate responses, interludes or trans-
ludes, and for accompanying the congregation when all unite in
the song. There are no interludes either between the lines of
a stanza, as in Saxony, or between the stanzas, as with us. The
.^ fashion of organ-interludes in hymn-tunes, seems to be passing
,^ away; and I observed, when in England, that they were but
' seldom introduced there.
The service is entirely litui^c, or is pre^omposed, no pro-
vision being made, that I could perceive, for extemporary per-
formances. Yet the same liturgy is not always used, but there
' are different liturgies for different occasions. The most inter-
esting service I attended was one for Passion Week, and which
was used twice during the week. There was no sermon, or
^' anything in homiletic form, but only devotional exercises, in
/ connection with Scriptural readings. The time occupied was
an hour and twenty minutes ; and of this I should judge that an
hour at least was occupied by the singing exercises of the choir,
or congregation, and only about twenty minutes by the read-
I ings (prayers and lessons) of the minister ; yet the minister
^ stood during the whole service in front of the altar ; and the
whole congregation stood also during most of the service, the
king himself, who was present, setting the example. The
organ-loft is in a gallery immediately back of the altar ; so that
the congregation, -^hen they face the minister, face the choir
108 LITUBGY,
also. As I think a more definite idea of the service will be ac-
ceptable to those who are interested in sudi things, I will give
a detail of the order of exercises on the occasion of which I
speak :
1. A very short organ prelude, of perhaps two minutes.
2. Choir — Psalm xliii. (as it is found in the Bible) " Judge me O God,
and plead my cause," <&c This beautiful psalm has been set to music in
the motette form, by Mendelssohn, expressly for the 7)<w»-CAor, and it
was admirably sung without accompaniment.
3. Congregation — ^Hymn. The instant the anthem was concluded, or
rather on the chord with which it closed, the organ commenced, in its
loud diapasons, a choraie^ in which all the people (some two thousand in
number) without waiting for the organ to play over the tune as with us,
immediately joined. One double stanza only was sung, during which the
minister came in and took his stand in front of the altar.
4. Minister — Reading a single verse only : " Behold the Lamb of God,
which taketh away the sin of the world." (John, i. 29.)
5. Choir — " He was wounded for our transgressions, he was bruised for
our iniquities, the chastisement of our peace was upon him, and with his
stripes we are healed." (Isa. liii. 6.) This was sung to most beautiful
music, in eight vocal parts, composed by Otto Nicolai, of the old Italian
school.
6. Minister — " The Lord be with you."
7. Congregation and Choir — " And with thy spirit."
8. Minister — Prayer.
9. Congregation and Choir^-" Amen."
10. Minister^Lesson selected from the Gospels, entitled, "Jesus in
Gethsemane."
11. Choir — *^ He hath borne our sins and carried our iniquities." Music
by Graun.
12. Congregation — ^Metrical Hymn. |
13. Minister — Lesson selected as before, entitled, "the trial of Jesus."
V 14. Choir — ^Micah, vi. 8, 4 ; music in four parts by Palestrina.
15. Congregation — "Holy Lord God," <fec., and "Kyrie eleison."
16. Choir — Sentence or short Motette, in a chanting style, haying re-
lation to the indignities offered to Christ on his trial.
i
^
LITURGY. 109
17. CoDgregation — Same as 15.
18. Minister — Lesson selected as before, entitled "the crucifixion of
Jesus."
19. Choir — Metrical Hymn, beginning "O Lamb of God;" music. by
Johann Eccard. Most touching, tender, and eflFective was the pianissimo,
yet crescendo and diminuendo performance of this single stanza.
20. Congregation — Metrical hymn, single stanza, sung to the famous
old German chorale with which Graun commences his " Tod Jesu."
21.' Minister — " And Pilate gave sentence that it should be as they re-
quired."
22. Choir — "Father, forgive them, for they know not what they do;"
music by A. Neithardt
23. Congregation — " Lord have mercy (or have pity) upon us."
24. Minister — Luke, xxiii. 89-43, being an account of the malefactors
crucified with Jesus.
25. Choir — " To-day shalt thou be with me in Paradise." Music unknown.
26. Congregation — Same as 28.
27. Minister — John, xix. 25-27. The mother of Jesus standing by the
cross.
28. Choir — " Woman, behold thy son," and to the disciples, " Behold
thy mother !"
29. Congregation — Same as 23.
30. Minister — " Now from the sixth hour there was darkness over all
the land until the ninth hour ; and about the ninth hour Jesus cried with
a loud voice, saying, " Elf, Eli, lama sabacthani I"
31. Choir — " My God, my God, why hast thou forsaken me ?" This was
sung very poftly and tenderly, with appropriate expression, and appa-
rently with deep emotion.
32. Congregation — " Christ, thou Lamb of God, who takest away the
sins of the world, have mercy upon us I" The music slow, and in the style
of a chorale.
83. Minister — " After this, Jesus knowing that all things were now ac-
complished, that the Scripture might be fulfilled, saith, I thirst" (John,
xix. 23.)
34. Choir— "Mich durstet," (I thirst,) most effectively sung, in the most
simple manner possible, to the music —
110
i
i
w
Mich
LITURGY.
■&-
dur
Btet.
'•^^4^=^
E
The alto and tenor may be easily supplied.
85. Congregation — Same as 32.
86. Mioister — John, six. 29, 80, condudiDg with " he bowed his head
and gave up the ghost."
87. Choir — " It is finished 1" Music simple, soft, and touching, as before :
Dim.
88. Qongregation — Same as 82.
89. Minister — Luke, xxiii. 46, 46.
40. Choir — " Father, into thy hand I commit cay spirit."
41. Minister — " And when he had said this, he bowed his head and died."
42. Choir — A single stanza of a metrical hymn, the subject of which
was prayer for Christ's presence in the hour of death.
43. Congregation — A stanza in continuation of the prerious one by the
choir.
44. Minister — Prayer for the king and country.
45. Choir and Congregation — " Amen, Amen, Amen."
46. Minister — ^The usual benediction. (Minister left)
47. Choir and Congregation sang a closing stanza.
Thus there were in this service forty-seven exercises. If any
one should think the detail dull or uninteresting, let him take
^
THE CHOIB. Ill
the Bible, turn to the passages, and also from his Hymn Book
select similar hymns, read them, sing them, and meditate upon
them for an hour and twenty minutes, until his sympathies are
awakened and his feelings moved, and he will change his mind,
and say, " It is good to be here."
But to the choir again. It is hardly necessary to say, that
its members seem to be perfect with respect to all the techni-
^ cals of singing, such as the formation of the voice, utterance of
words, and of tone, time, tune, pitch, <Sz;c. To all these things
they have been trained; they have formed correct habits with
regard to them, so that singing out of time or tune, falling from
the pitch, bad tone, or inarticulate delivery of words or of tones,
are never expected, thought of, or heard, and certainly would
^ not be tolerated for a moment. They have a regular conductor,
who stands in view of all the members, directs the time, and
indicates such other things as are usual with the baton. But it
is not only with these preliminary pre-requi sites that the mem-
«
bers of this choir are fiimiliar ; they seem to know what belongs
to the higher departments of taste and expression, and in their
performances they make such a practical application of the dy-
namic degrees and tones, as to bring out in a much more satis-
factory manner than is often heard, the signs of a deep internal
feeling ; and all the externals seem to say that the spirit of
worship may be there. We do not mean to say that all the
people, or all the members of the choir, or the minister, are or
are not true spiritual worshipers ; this we do not know, but
. we think that such a form is presented, both as respects the
matter and the manner in song and in speech, as is well adapted
to the spirit of worship, and to aid the true worshiper in his
sincere attempts to worship " in spirit and in truth."
We do not suppose it to be possible to train a choir of boys of
twelve or fourteen years of age, to sing independently with any
112 THE CHOIR.
high degree of expression, (except so far as it may he done hy I
imitation,) not even if the true spirit and worship is in the heart : S
the immaturity of taste and judgment belonging to their age
I
must prevent this; but yet, something may be done, as is
proved by the boys of the Dom-Chor ; and certainly a much
higher degree of excellence may be attained anywhere by trained
hoys' voices^ than by untrained female voices^ or such female
voices as may sometimes be heard in our choirs. I presume
there is no choir to be found in which a higher degree of excel-
lence exists than in that of the Dom-Kirche ; it is certainly
much in advance of such of the English cathedral choirs as we
have heard. That union or blending of the voices by which *
true chorus effect is produced, and without which it cannot exist,
is realized in a high degree. Some exception must however be
made here, and especially with respect to the imion of hoys'
with men^s voices ; but this blending of the voices of the Dom-
Chor is admirable, and when the tenors and basses are singing
by themselves, or even when the altos unite, it is almost per-
fect ; but the soprano of the boys, especially if it be above the
twice marked small c, is so different in quality or character,
that that close union by which many voices become one^ is not
attainable. In the English choirs there is indeed none of this
blending, and the soprano of the boys stands out quite discon-
nected from the other parts. The choirs are so small, too, that
this of itself is sufficient to prevent the effect of which we speak ;
for it is a well-known fact, that it cannot be easily attained with
a less number of voices than about six on a part ; but it seems
not to be sought after in these choirs, so that in respect to this
point, a choral performance in one of the English cathedrals,
reminds one of Nebuchadnezzar's image, partly of brass and
partly of clay. Not so, however, in the great musical festival
choirs of England, or in those societies where a female soprano
THE DOME CHOIB. 113
is employed, for in both these we have heard such a perfect
union of fully-developed male and female voices, as to leave
nothing more on this point to he desired.
The points which struck us the most forcibly with respect to
the external of the singing of this choir, are firsts the decision
sjidjirmness with which the tones are taken or delivered, and
this is equally applicable to piano and to forte passages ; and
second, the perfect truthfulness with which the pitch is held by
the mere voices alone, for the organ, as we have already re-
marked, is not played when the choir sing, but is only brought
in to aid the congregational ishorus ; then indeed its pipes are
lt not spared ; but the greater part of the musical exercises are by
the choir, senza stromenti. The choir seem no more to need
the accompaniment of an organ, than does a well-organized and
perfect orchestra ; and the use of the vocal organs of the one
seems to be as ^rm, decided, and true to the pitch, as are the
bows, strings, and mouth-pieces of the other. A third point in
which this choir excels — ^the great point — ^has already been spo^
ken of, but yet we wish to add a few words on the appropriate
expression which marks their singing. It is tasteful, or it con-
forms to the generally-received laws of taste in choir or orches-
tral performances. It is easy and natural, without any approach
to coarseness, roughness, or crudeness, on the one hand, or
affectation of beauty, or elegance, or feeling on the other. There
is an absence of that stiffness or formality too often witnessed, and
especially of that mechanical straining for effect which is apt to
characterize the performance of such choirs as depend upon a
marked hymn book, and endeavor to obtain expression from
noted directions. True expression can only proceed from a
well-educated taste, an instantaneous appreciation of beauty, a
quick sensibility, and a warm and sympathizing heart ; and this
is equally true, both in elocution and in song.
f
114 QUARTET SINGING.
That the choir of the Dom-Kirche is the best in the world,
(as we have heard it called,) we do not know, but that it is, on
the whole, the best we have heard, we are willing to admit;
and the performances of the choir and congregation, separately
and together, present us with as fine a form of church music as
we may ever expect to witness in this world.
We cannot close these very imperfect remarks on the music
of the Dom-Kirche, without contrasting for a moment, the form
of church music which it presents, with one which prevails to a
considerable degree with us. What would the quartet clubs
of our churches do, if they should become familiar with such
choir singing as we have attempted to describe % If governed ^
by correct musical taste, or by religious propriety, and if unin-
fluenced by that^ the love of which is the root of all evil, we
think they would, at least, draw the curtains in front of the
oi^an-loft closer than ever, or perhaps hang their four-stringed
harps on the willows, and let the people sing their own
songs, until a choir, properly so called, could be formed. What
worshipping assembly, knowing the power of a good choir,
would be satisfied for a single Sabbath with the drawing-
room effects of a single voice on a part ? The substitution of a
piano lorte for an organ in church worship, would not be in
worse taste than the substitution of a quartet for a choir. A
quartet is beautiful in its place, and in connection and in con-
trast with a choir, may be truly effective in church music, but
save us from that form of song in the house of God, which con-
sists in the monotony of a four-voiced performance, without the
light and shade afforded by a chorus.
Again, the true form of church music can only be found in
the union of a choir, (including solo and quartet,) with a con-
gregational performance. And while these two combined pre-
sent us with a most perfect form of church song, each must be
CHOIR AND CONGREGATIONAL SINGING. 115
kept in its own proper place ; they must be related and de-
j^endent, and yet preserve their own independence. Choir
singing must be one thing, and congregational singing another,
both with respect to the character of the music and the style of
the performance. Congregational singing can never be good,
until such tunes as are now attempted are laid aside, and a
plainer and easier class are alone encouraged. No German
congregation could sing such tunes as St. Martin's, Abridge,
Devizes, and a host of others, old and new, now supposed to be
appropriate to congregational performance in America ; but let
a plain and simple style of tunes be sung, such as are sung here,
and let the more difficult and more tasteful pieces be reserved
for a well-trained choir, and then both may flourish, strength-
ening in each other's strength. It is a grand mistake, but one
that has extensively prevailed, to suppose that these two forms
of church music are antagonistic, so that if one is encouraged,
the other must be discouraged. They are friendly, and should
ever go hand in hand.
Once more — the account given of the Dome Choir should not
discourage such choirs in our country, as can never expect to
equal, or indeed to come near to that, in the excellency of their
performances. TJiat is a professional choir, sustained at a
great expense, and of course, the circumstances under which
it prospers are quite unlike anything existing in our country.
Ours must be voluntary choirs of amateurs, supporting them-
selves, and in most cases paying their own expenses. But yet,
if those who have good voices will but apply themselves accord-
ing to their opportunity, as much may be done by our choirs,
to promote 'the cause of a spiritual and sincere worship in
America, as is done by the more skilful, better trained, and
better paid choirs in Germany.
116 ' MORNING
SERVICE.
LETTER XXV.
The Service at St. Nicolai— Blad. de La Grange.
Lkipzig, Sanday, May 2d, 1852.
I HAVE just returned from the morning service. Since
Easter, the Motets with Orchestra have been resumed; and
to-day, the musical exercises were somewhat different from
what they usually are. A Chorale was first sung ; but there
were not many people to join in. The exercises commence
precisely at eight o'clock, whether anybody is there or not ;
and sometimes I have attended public worship, when there was
no one present at the commencement, except the singers. Afler
the chorale to-day, the first two movements of a mass by Che-
rubini were sung, " Kyrie," and " Gloria in excelsis ;" sung,
too, not in the vernacular language of the land, but in the origi-
nal Greek and Latin. The " Kyrie " commenced with a short
Violoncello solo ; this is followed by a vocal solo for a Bass
voice ; after which the other parts join. There is much solo
throughout the movement. The music, although very fine, did
not appear to me to be very supplicating in its character, nor
did it seem to urge the cry for mercy as one might suppose
David urged it in the fifty-first psalm. At the close of the
" Kyrie," the minister, at the altar, chanted a few words of
prayer, and then followed a brilliaiit "Gloria in excelsis,"
mostly in chorus. A fugue is introduced, and the closing move-
ment, to the word Amen, is very animating and triumphant.
At the close of the " Gloria," the minister chanted the collect
for the day with response by the choir ; aflerWftrds followed
prayer, and then came a very fine Motet or Hymn with Or-
chestra, composed by Spohr. The moment this closed, choir
and orchestra scattered, and were seen no more. The organ
THE TBUE SONG OF WOBSHIP. 117
instantly announced a chorale, and the loud congregational
chorus arose, most cheering, most refreshing, Sabbath-like, a song
of worship, solemn, grand, majestic, " fit for an angel to play,
or a martyr to hear ;" raising one's feelings, and bringing home
thoughts of God, heaven, holiness, redemption, and eternity.
I am a great lover of music, I delight to listen to an orches-
tral performance, and never intend to omit an opportunity of
hearing a good concert. But on the Sabbath-day, when one
wishes to turn his thoughts upward, and bring himself into con-
verse with his Father above, I love the great vocal chorus,
plain and unpretending though it be; it lays no claim to
either science or art, yet it grapples with the spirit of worship,
draws it out. and bears it with certainty and rapidity towards
the object of its search, and penitence, and thanksgiving, and
adoration fill the soul. Oh, that those who love the worship
of God in our happy land, knew the power of song, to their
aid ; and knew, too, that form of song, so well adapted to their
%nd. I love the choir ; I would spend days and nights in its
trainings, and labor without being weary in attempts to bring
it to perfection ; I "would listen to it on the Sabbath, be made
sorrowful by its tones of penitence, strong in faith and confi-
dence by its full, and scientific-wrought harmonies, jubilant by
its Hosannas and Hallelujahs ; but even this is not enough. In
addition to all that a choir can do, I want the plain song of all
the people, above science, above art, above everything save Him
into whose presence it hastens one, and before whose throne it
fills one with the spirit of them who sing without ceasing :
" WbrthT/ is the Lamb that was slain to receive powit, and riches,
and wisdom, and strength, and honor, and glory, and blessing.^^
I heard the congregation singing hymns of praise to-day ;
the loud organ led them on, binding all together, so that the
m
voices were as the voice of one man ; the grand chorus filled
118 MAD. D£ LA GRANGE.
the house of the Lord ; . it seemed to say Holy^ holy^ koly is ihe
Lord of hosts ! let the whole earth he filled with his glory ; and
I came away wishmg that the people of America could hear
it too, hear it until they should know what we mean when
we speak of congregational singing, become sensible of its im-
mense importance to their worshiping assemblies, and hasten
to take the appropriate preparatory measures for its introduc-
tion.
We have been fiivored with an opportunity to hear another
very excellent singer, in Mad. de la Granoe. She is a French
lady, and a true artist. When Jenny lind was here, some
years ago, she was regarded as the best singer who was ever
he^rd in Leipzig ; save that now and then one remembered
Catalani, and were, of course, unwilling to give up their earlier
impressions with respect to that lady. Afterwards came the
Countess Rossi-Sontag, who seemed to bear away the palm,
and, indeed, she cannot be excelled ; but now we have truly an
artist of the first class here in the lady above named. Of her
a very competent critic has said, in one of the papers, " She
has never been equaled by any of her predecessors." While
we might be willing to admit the truth of this remark in regard
to some particular points of excellence, we do- not acknowledge
it as a general truth ; and it must be credited to the &vorable
disposition of the newspaper critic. She has a voice rich in
tone, extensive in compass, and of great flexibility. Her lower
register is very fine, having more power than that of Sontag ;
indeed this is true of her whole compass, and in this particular
she may be Compared to Jenny Lind. With respect to quality
and purity of tone, we think the latter lady may have the
preference in the higher register, but elsewhere the voice of De
la Grange is superior. In her lesson in the " Barber," of Ros-
sini, she ran up with apparent ease to the thrice-marked small
MAD. DE LA GEANGE. 119
g ; and in her songs in the Zauberflqte she touched the thrice-
marked small / with the ease and accuracy of a pianoforte.
She sings with a freedom, openness, frankness of voice (so to
speak) that we have scarcely ever heard equaled, and never
excelled. She is, perhaps, thirty years of age, and of most in-
teresting personal appearance, good figure, large and bewitch-
ing eyes, easy, graceful, and elegant in every movement and
gesticulation. We have been delighted with her singing ; but
yet not more so than with that of Sontag or of Jenny Lind.
Either of these singers will awaken the most perfect ideas of
beauty, and fill one with delight ; but to a singer like the Wag-
ner, of Berlin, alone it belongs to move the deeper fountains
within.
We have lately seen in a Boston paper a notice of Mad.
Sontag, in which she was compared to a marble statue, with a
muaiobox in her throat. While this in one respect is an excel-
lent comparison, it is very unjust in another ; in regard to the
power of execution (technical) it does really give one a very
correct idea of her wonderful performance ; but with respect to
the expression of appropriate feeling, entering fully into the
character she represents, or of the song she sings, it is false,
wholly &lse ; for if ever woman excelled in the latter named
points, that woman is Mad. Sontag. She has a music-box, in-
deed, but in addition to its exquisite mechanism, this box has a
soul, a spirit of life and love within, manifesting itself in every
tone, inflection, and cadence.
Mad. de la Grange sung in Rossini's ^'Barber," Bellini's
"Lucia," Meyerbeer's "Robert" and "Prophet," and also
Mozart's " Magic Flute." It hardly need be added that she
met with a warm reception, and, at the increased prices, drew
a crowded house.
\
\
120 LEIPZIG FAIE.
LETTER XXVI.
The Leipzig Fair.
LKirzia, May 3, 1852.
Wk are now in the midst of the Fair. This changes the
whole aspect of the town. The ways are crowded, and the
people move in solid columns through the centre of many of
the principal streets. Every hotel is two or three times full ;
and it is not easy to procure even a seat at a table d^kote for a
dinner. It is highly interesting for one who is not a business
man (and perhaps more so for one that is) to walk through the
principal places of business, and see the great variety of articles
exposed for sale. The more one sees, the more there seems to
be seen. Many of the stores on the principal streets seem to
be vacated during the Fair, and given up to the manufacturer
or others who come from afar, to exhibit and sell their produc-
tions. The market women are driven from the usual market
place with their butter, cheese, eggs, &;c., and temporary or
locomotive shops, stalls, or tents have appeared in their place,
filled with all manner of fancy articles. Many goods are ex-
posed on tables in the open streets, and where they are kept in
shops, they are brought out in large quantities and exhibited at
the doors. One street is filled with cloths, cassimeres, and var
rious woollen fabrics ; the display of fine cloths of every possi-
ble shade of color, is full of interest. There is no extra dis-
play of books : though much book-business is done ; and the
congregation of book-manufacturers and sellers is very great.
They meet in their own exchange, or appropriate building.
Starting at a convenient point, and walking round the city on
the promenade, we first come to the potters' ground, where we
see all manner of earthen vessels, pitchers, pans, plates, bowls,
mugs, &c., &c., black, and white, and red, and yellow, and green,
THE FAIR. 121
and especially brown. The stone-ware is adjoining this, and
then comes a large space devoted to wooden-ware, especialV^
such as belong to household affairs. We next come to the sell
ers of flaxen goods ; and here is a fine display of the coarse
linens, as Diaper, Crash, and the like. Passing onward, we
shall find ourselves in the midst of farming utensils, and fix)m
thence among the willow-weavers, and all sorts of baskets,
wooden boxes, trunks, chests, packing-cases ; glass and porce-
lain are in the vicinity, of which there is a large collection ;
ready-made clothing, hosiery, and gloves ; bonnets, and all sorts
of ladies' muslin preparations (names unknown) ; with men's
hats, day-caps and night-caps, and worked slippers, &o. But
we have now come to Augustus platz, the open space between
the Post-office and the Pauline Church, and this is crowded
with everything ; it is, as to the variety of goods exposed, much
like the market place, although the latter is somewhat more in
the fancy line. I wiU "mention a few of the classes of wares
and merchandize contained in different stalls, as I noted them
down when I walked through the place c-^Looking-glasses and
picture-frames ; umbrellas and parasols ; wooden over-shoes
(much worn) ; bird cages ; bonnets, ribbons, and laces ; oil
cloths ; ginger bread, honey cake, and confectionary ; extensive
dry-goods establishments, somewhat classified; copper kettles
and all sorts of boilers ^nd household vessels ; flannels, a large
assortment of white and colored ; pins and needles ; buttons ;
musical instruments ; soap and perfumery ; cigars ; walking-
canes ; engravings and colored paints ; jewelry ; pipes (there
are many shops confined to this article, porcelain pipes in all
sorts of forms, with painted bowls and various ornamental
works) ; whips, sadlery, &c. ; tin-ware ; brass- ware ; hard-ware
generally, and cutlery ; blank-books and stationery ; busts and
plaster work ; combs — ^ivory, wood, tin, copper, iron and horn ;
6
122 THE FAIE,
upholstery ; brushes ; powder-flasks and various dishes made
of horn ; woollen yams ; but the idea of enumerating is ab-
surd ; the oftener one walks through the narrow passage-ways
the more things he sees, and at every time discovers many ar-
ticles which had escaped his notice before. Toy shops and pipe
shops are among the most frequent of any, and the display in
this way is very great. A very large majority of these shops
are in the charge of females ; as we walk along, they very mo-
destly offer their wares for sale, but one is not annoyed by con-
stant appeals to purchase, and is rather permitted to pass quiet-
ly along and gaze. At about a quarter of a mile out of the
city, around the St. John's church, there is a shoe and boot
mart ; and so there are various places in and around the city
where everything that any one ever thought of, and many
things that no one ever did think o^ are for sale. The general
complaint is, this season, that business is dull ; the Austrians,
thefRussians, the Prussians, and foreigners generally, have not
come in so great numbers as they sometimes do. The places
of which I have spoken are places for retail ; the great whole-
sale business is mostly done, as I am informed, the week before
the Fair.
As we proceed to Rossplatz, we come to a multitude of eat-
ing, and drinking " Restauration" places. As you pass by them
you hear music ; look in, and you will see women harping upon
their harps, and men sitting at tables with beer-glasses before
them, some drinking, some eating, and all talking and smoking.
The show-places, theatres, menageries, panoramas, circuses, and
houses or sheds for various games, sports, &;c., come next.
There are about twenty of these within sight of our window
in Rossplatz ; and as almost every one of them employs a band
of music, and as many of these bands are playing on the piaz-
zas or balconies outside of the buildings, at the same time, in
THE FAIB. 123
different keys and movements, we are not at a loss for instru-
mental exhibitions daily from three to ten o'clock. But a^t ten
everything ceases, and within half an hour all is hushed to still-
ness.
The Fair brings together many musicians. All the little
bands from the surrounding country come to town to reap a
little something during the harvest time. These bands are from
four to eight or ten, perhaps, in number, and are variously com-
posed as to instruments. Some of brass, some of strings, and
some curiously mixed ; as a horn, a clarionet, a violin, and a
bassoon ; or a double-bass, oboe, flute, and trumpet, <Sz;c. As
early as six o'clock in the morning they are out, and are seen
and heard playing in passage-ways, entrances to hotels, or wher-
ever many people may be supposed to be within hearing ; de-
pending for remuneration upon the voluntary contributions of
those to whose edification they play. They are almost all of
them apparently very poor, and are contented with small gains ;
indeed, one would suppose that even without ^'food and rai-
ment" they are content. They seem to enjoy it right well, and
to take it for granted that others will like tleir music as well
as they do themselves. Many females are seen with a very or^
dinary kind of harp in their hands ; these unite into bands, and
three or four are seen performing in chorus. Female violinists
too, are often seen, and a harp and a violin are regarded as
helps meet.
Prices of living are high in Fair time, and it costs one about
the same here as in London or New York.
124 THE REPOEMED CHUBCH.
LETTER XXVII.
The Reformed caiurch— Singing— Preaching.
Lxipzio, May 10, 1853.
There is a small church here distinguished by the above title.
In what respects it differs from the prevailing Lutheran church,
I do not know ; but one of the principal points of doctrine, I
believe, is that which relates to the Lord's Supper, or consub-
stantiation. The society have no entire building for the pur-
pose of worship, and meet in an "upper chamber," in a large
building near the St. Thomas church. They have here a very
commodious chapel, neatly finished, capable of seating, perhaps,
five hundred persons. The whole congregation yesterday did
not number more than one hundred and fifty persons. The
form of worship does not differ essentially from the Lutheran
church ; yet there is a space in the service left for extemporary
prayer. There is no choir,' but the singing is lead by five or
six boys, who sing at the top of their voices the principal melo-
dy; tune or pitch Being as true as the organ-pipe. The organ
was played quite loud throughout all the hymns ; so that the
boys and the organ together quite filled the small place with
sound, and constituted a ground or foundation upon which any
one of the congregation might rest his voice with perfect security.
One might sing under such circumstances without the danger of
deviation from pitch or tune, or of being lightened, or of fear-
ing he might frighten others by the sound of his own voice.
The fact is, that in these German congregations such a current
or tide of sound is put in motion by the organ and the leading
boys that one has no fear of joining his own voice, however
harsh or unpleasant it may be ; and this for two reasons : Mrst^
it is hardly possible that in such a loud chorus he can sing
THE SEBMON. 125
Wiv^ ; and Second^ no other person will be likely to hear him,
even if he should be able to hear his own voice. But it is very
evident that, in this congregational singing, every one is attend-
ing to his ovni song, and not to that of others ; every one is
singing the hymn for himself, and no one listening to others'
voices. It is as evident, too, that no one is thinking of good
music, or of bad music, as is sometimes the case with us ; and
I do not think that the thought of music at all, (according to
the ooniinon acceptation of the word,) comes into the mind.
Music is regarded as one thing, and the singing of hymns quite
another. For good music the people go to a concert or to the
opera ; or perhaps to a choir and orchestral performance in the
church ; but in the singing of the chorale by the people, good
music is not looked for or expected. So it must be every-
where, imless such an attention is given .to the subject in the
way of cultivation, as can hardly ever be expected.
In this church everything was plain, almost as much so as in
the churches of New England. There were no pictures, statues
or carved images ; no representation of the Saviour upon the
cross, no altar or burning candles, but a simple reading-desk or
pulpit, from whence proceed the prayers and the preaching.
Prayers were read by a young man, a curate or assistant min-
ister, and the preaching was by a fine-looking man of perhaps
sixty years of age. His sermon I could not understand, but his
tones of voice, inflections and gesticulations indicated a high de-
gree of cultivation, excellent taste, and an ardent spirit. There
. was nothing severe, no harshness or scolding, but the winning
tones of love were so mingled with the solemn declarations of
truth, as to captivate one's feelings and make effectual the
message of salvation. His manner was excellent indeed ; and
where this is the case, or where the preacher's whole external
appearance seems to receive its general form and impress from
126 MUNICH.
a warm heart — ^a spirit glowing with love to God and man ;
and where this manifests itself in the most simple and unaffect-
ed way, yet always according to the laws of good taste and
judgment, — ^the matter will be good too.
We wish our preachers could give more attention to the cul-
tivation of the voice (not in song, but in speech), or to elocu-
tion, including gesticulation and all that belongs to a perfectly
simple, easy and natural, yet elegant vocal delivery. There is
a mighty power in the human voice ; it is more irresistible than
arguments ; it takes possession of the heart, after which it is not
difficult to control the head. To what, for example, was
Whitefield's success to be attributed, (and many similar in-
stances might be quoted,) but to his captivating voice and
general pulpit manner ? A sermon may be sound, logical, doc-
trinal, practical, experimental, and be lost because of an arti-
ficial, awkward, or forbidding manner. Harsh and severe
tones of voice, and a scolding manner, will drive to antagonism,
or to the defensive, when those of gentleness will draw with
a power not to be resisted ; and in the pulpit as well as in the
choir, we need ".apples of gold in pictures of silver."
LETTER XXVIII.
Churchea— Boyal Library— Military Bandft— Charch Music.
Munich, May 18, 1858.
This is a most interesting city, second only to Berlin, and in
some respects before it. It has a population of about one hun-
dred and ten thousand persons, almost all of whom are Roman
Catholics. Its streets are wide and well paved, and its buildings
THE ROYAL LIBBABY. 127
are large, and not crowded thickly together. Its galleries of
sculpture and paintings are among the best in Europe ; its pub-
lie buildings are magnificent, and are embelUshed with statues,'
frescoes, painting upon glass, and whatever is ornamental ; with
regard to musk, although it may be second in some things, it
is first in others. The Orchestra of the Koyal Opera is admir-
able, and is under the direction of Kappelmeister Lachner, well
known as one of Germany's distinguished composers ; some
of his symphonies and overtures ha^g been oL plJyed in
Boston and New York.
The churches are lai^e, and filled with altars, monuments,
statues, &c., interesting to the eye, and often with music not
less attractive to the ear. A new church, finished only a year
or two since, is very elegant. In its interior. are sixty-four
beautiful columns, of rich Tyrolese marble, each twenty feet in
length. The church is two hundred and eighty-five feet long,
and one hundred and twelve feet wide. It is richly decorated
with frescoes illustrative of the life of St. Boniface, to whom it
is dedicated. To preserve the architectural view of the church
unbroken, the pulpits are placed upon railroads, so as to be
trundled out of sight when not in use.
The Royal Library is contained in a large and splendid build-
ing capable of containing two millions of volumes. The 'lib-
rary now consists of about eight hundred thousand volumes.
The collection of music books is large, and many of the works
and manuscripts of old masters axe found there ; especially
those of Orlando di Lasso, whose residence for many years
was in Munich. In front of the building of the Conservatory
of Music, Odeon-Platz, are statues in bronze of Orlando di
Lasso and Gluck. There are many bronze statues about the
city, but one in particular is attractive on account of its size.
It is a statue of a female figure, emblematical of Bavaria, and
128 MILITARY MUSIC.
stands in front of a building called the Bavarian Temple of
Fame, a little out of town. The statue is upwards of sixty
feet high, and stands upon a pedestal of twenty-eight feet. A
lion of proportionate dimensions is by its side. Crawford's
statue of Washington is about to be cast here, in bronze. One
of the figures (Henry) is now in the foundry, and the others
will be sent on, from time to time, as they come from the
hands of the artist in Rome.
Among the most interesting featured of these Grerman cities,
are the parks, gardens, &c., in which they abound. We have
but to step outside of the gate of Munich, for example, and we
find ourselves at once in a park oi four miles long ; the whole
being filled with trees, shrubbery, and flowers ; with roads,
smooth as a floor, for carriages; and foot-paths winding in every
possible direction. One may ride for hours in this park with
ever-varying and ever-new prospects before him. The river
Isar, a small but rapid stream, winds its '^ay through these
woods, adding much to the beauty of the place. It is a good
ten-days' work to take a mere superficial look at the various
works of art brought together in the Q^varian capital.
Military music abounds here, and is very fine. One of the
best bands I have heard (but not better than the one in Berlin),
consisting of about forty instruments, including oboes, clarion-
ets, bassoons, &c., plays daily at eleyen o'clock ; say an over-
ture first, and then one or two pieces of lighter music. We
have had this day an excellent opportunity of hearing military
music, and at the same time, of seeing a military parade. The
Prince Saxe, a brother of the Queen, died a few days since, at
his residence in this city ; and to-day the body was removed
from the house to the railroad depot, from thence to be taken
to Altenberg, to the family vault. About three thousand cav-
alry, artillery, and infantry were called out to perform escort
CHAPEL OF ALL SAINTS. 129
duty. There were seven fine mUitary bands, a part of them
being composed of mixed instruments, and a part of brass
only. They played in admirable style.
This is a Roman Catholic place, and the music is, of course,
such as belongs to that Church. There is but one place where
a good choir is sustained, namely, the ^' Chapel of All Saints."
This a beautiful building, about one hundred and fifty feet in
length, ninety in width, and seventy in height. There are a
number of fine carvings '; and the whole interior is finely cov-
ered with fresco paintings, on a gold ground ; so that the ap-
pearance, as one enters the building, is very splendid. We at-
tended at this chapel on two occasions, on each of which high
mass was performed, viz., Ascension-day and the Sabbath morn-
ing following. The music on the first day was by the director,
AiBLiNGEB, well known as a composer of Masses, Motets, &c.
The choristers numbered about twenty-four, or six voices on a
part, being composed of the best professional vocalists, or opera
singers, in Munich. The organ was well played, but never as
an accompaniment, as the vocal music was without any accom-
paniment whatever. There was, in the performance of this
dioir, all the full, dear, and certain delivery and union of vocal
tones that the most £istidious critic could desire ; though less
of the crescendo and diminuendo than in the Dom choir at Ber
lin ; but in one respect, the Munich choir had a great advan
tage, — the Soprano and Alto parts were sustained by femaU
voices. Consequently, there was a fulness, richness, and matu-
rity of voice, and a blending in the chorus ; neither of which
can be obtained in choirs where boys sing the Soprano. There
is a disagreeable effect always resulting firom the predominance
of boys' voices in a choir. The attempt to unite them with
adult voices, is like the attempt to mix oil with water ; they
will not coalesce. I have not, in a single instance', heard boys'
6*
180 AIBLINGEB.
voices in a choir in which they did not stand out by themselves,
as a separate thing, without sympathy, resemblance, or conge-
niality. There can be no perfect chorus where the Soprano, or
even the Alto, is principally sustained by boys. Twelve or
twenty boys, with good voices, trained to sing together, will
form an excellent chorus of one part to lead in the singing of
a large assembly of people ; but they fail not, usually, to spoil
a complete choir or chorus of each of the four parts in one.
Mr. Aiblinger is an able mnsidan, mi a fine composer; and
his vocal music seems to be a very happy medium between the
old and the new. ^' A little too modem," said one of the best
musicians in Munich to me, as we left the chapeL '' A little
too modem," I suppose the best musidans would almost all of
them say ; but, while I admire the old, and regret that in Am-
erica it should be entirely unknown, I cannot agree with those
who for conscience sake would confine us to the old ecdesiasti*
cal tones. Mendelssohn has given us a happy medium in some
of his vocal music, (written without accompaniment,) as the
Berlin Psalms, and some other things.
I did not learn by whom the music performed on the second
occasion was composed ; but, on both occasions, most beautiful
indeed was the performance of the choir. I never expect to
hear it surpassed.
The music in the other churches, so far as I had an opportu-
nity of hearing, consists of the old chant, the performance of
which was, in some cases, very full and satisfactory.
The Protestants are but few in number, and their singing is
congregational
SONTAG. 131
LETTER XXIX.
Henrietta Sontag.
Mttricb, M«y, 1832.
Of this inimitable artiste and mistress of song, we have al-
ready reported at length; but we have had the unexpected
pleasure of hearing her again in the Bavarian capital, and can-
not forbear saying a few words more. Since being- in Leipzig,
in February last, she has been singing in some of the most im-
portant German cities with the greatest success. In Dresden^
Breslau, Hamburg^ Bremen^ and other places, she has met with
thd warmest reception ; and now, in Munich, she is receiving the
highest approbation that can be bestowed. Increased prices,
crowded houses, wreaths, bouquets and showers of flowers,
greeting her whenever she appears, all testify to the high stand
which she takes as an artist I have repeatedly seen her re-
called after singing, three times, and even then the delighted
multitude were hardly satisfied. It is indeed next to impos-
sible that, in purity of tone, and perfection of execution, she
should be excelled.
The man who, in describing her singing, said '^ she is a statue
with a music>box in her throat," said well, so far as a perfect
execution, toitckinff or bowing, is concerned ; but he should have
added that it is a s];atue of humanity, having a spirit from the
divinity within ; a heart manifesting itself in every tone, look,
gesticulation and movement. So easy, so graceful, so elegant,
so chaste, so artistic, and yet so simple and natural is Sontag ;
who has ever seen and heard the like ? One would think her
to be a mere child of nature — (as indeed she is in the best
sense of this expression ;) — ^for there is an absence of all stiff-
ness, formality, pedantry, and affectation, and yet the highest
182 MUSICAL CONSERVATORY.
degree of cultivation and artistic excellence which can be imag-
ined. One cannot giye attention to her singing without being
delighted. To listen to her is like looking at the most beauti-
fully variegated bouquet, or collection of flowers, that can be
brought together ; it is like the glittering plumage of the most
brilliant of the feathered race ] like the appearance of a thou-
sand charming little girls of six years of age, wreathed with
freshest roses, and dressed in purest white.
But she is coming to America, and then every one can hear her
for himself. She expects (we have it from her own lips) to sail
the latter part of August for New York ; and then we promise
all the lovers of perfection in song, full satisfaction. We can-
not forbear adding, that which we have heard from various
sources in Germany, that in addition to her artistic excellence
aa a singer, she is a most excellent woman, wife and mother.
LETTER XXX.
*^ Consenratorium der Musik."
* MumcH, May 25th, 1852.
Ther^ is a Conservatory of Music here, which seems to be
in ^ yery flourishing condition. A letter of introduction from
H^uptmann secured for us a warm receptioti from the Director,
r, Hauser, (pronounced How-zer.) There are now connected
with the Conservatory, fifteen professors of music, and ninety
students. Every student is required to attend to the theory of
music, harmony, fugue, and instrumentation, and also to either
the Piano Forte or Violin ; in addition to which, such as desire
it can attend to wind instrim^ents, and to vpcal miisic. Mudi
F. HAUSER. 183
attention is given to vocal music ; the Director himself, being
first teacher in this department. Many of the eminent singers
now popular in Germany, were educated here. It is an excel-
lent place for one who wishes to study the voice under the best
advantages ; and also for one who wishes to become acquainted
with chorus effects, and the manner of drilling, training, and
conducting a choir. Above one-half of the students constitute
a choir, and meet regularly once a week for a two-hours' exer-
cise, imder the vigilant watch and care of Director Hauser.
They practice the very best music, from Lasso and Palestrina
all the way down to Mendelssohn ; and on the afternoon when
we were permitted to be present, the Oratorio of Elijah was
performed, with Piano Forte accompaniment. The recitatives,
songs, and concerted pieces were aU given by pupils, and both
these and the choruses were highly creditable to the institution.
It was not a public performance, and was without rehearsal.
Mr. Hauser was so kind as to allow us to choose what Oratorio
•
should be sung, mentioning Elijah, St. Paul, the Creation,
Seasons, and others ; we chose Elijah, and it was put down be-
fore the choir accordingly, and, by them, quite satis&ctorily
rendered. It was a drilling, or training exercise, and the
Director did not hesitate to stop the song whenever anything
appeared to him to require it. Solo singers were in several in-
stances stopped and corrected. The Director has full authority,
and fears not to use it. After the performance was over, we
spoke to him of the great advantage he had over an American
Conductor in this respect ; for surely no choir with which we
are acquainted, would bear such close bringing up to the mark
of perfection ; and we said to him, that were he in America,
and thus corrected faults, especially in a Solo singer, the vocal-
ist would very probably take his hat, bid him " good evening,"
and be off. Mr. H. smiled, and said : " I am a tyrant here."
184 MUNICH AS A PLACE FOR STUDY.
This, however, was his own saying, and not. that of his pupils,
who seemed to regard him with great respect and confidence.
He is apparently a very able Conductor, instantaneous in ear
and in speech, ever watchM and vigilant, detecting the smallest
errors, and commanding respect and obedience. Where there
is such a Conductor, there will be a good chorus, provided
he has good materials at his disposal. Some of the pupils
manifested much talent, especially a young girl, not more than
fifteen or sixteen, who sang with an openness of voice, and ful-
ness and purity of tone, charming in the hearing, and pleasant
in the remembrance. A voice of such perfection is of more
value than gold ; and (although there may be exceptions) indi-
cates a good disposition. H^ppy are they in whom both are
united.
We regret that we &iled to obtain a printed plan or pro-
spectus of the Conservatory at Munich, but we came away
deeply impressed in its fovor. . The Library contains a good
collection of the works of the best musical writers, and writers
on music. Munich is a place where one can live as cheap as at
any place in Germany — ^rents and tuition are very low, and
food and raiment can be obtained for as small a sum as any-
where, except, perhaps, in some parts of Italy. Were I an
American youth, wishing to obtain a thorough musical educa^
tion, I should make careful inquiry as to the advantages of the
Conservatory of Munich, before making engagements elsewhere.
^
QLUCK. 135
LETTER XXXI.
Orlando di Lasao and Glnck— Prof. Deho, of Beiiln.
Munich, May 96, 1852.
Of all the old writers of vocal music, Palestrina seems to
stand at the head. He seems to be held in the highest estima-
tion by every truly learned musician. After Palestrina, per-
haps there is no one for whom superiority may be claimed to
Orlando li Lasso. He is the boast of the Germans, and
passed the best part of his life in this city. In the Odeon
Platz, in front of the building occupied by the Conservatory
of Music, is a fine bronze statue of Orlando di Lasso, and
also of Gluck. They stand there together ; the former, the
head of the German writers of the old school of church music ;
and the latter, at the head of modem dramatic musical com-
posers. Gluck's opera of "Ipheginia in Aulis," can only be
considered as equaled by Mozart's " Don Juan" and Beetho-
ven's " Fidelio." Indeed, there are not a few who give Gluck
the highest place. His operas never fail to draw out the most
intelligent musicians, and it is always regarded as a rich treat
to listen to them. The one we have mentioned certainly holds
the highest place, but the Iphigenia in Tauris, the Alceste, and
Orpheon, may still be heard ; and hardly a classic concert is
given in which there is not something found on the programme
from this popular writer. Mozart, no doubt, owed much of
his success to the fact, that in the order of time he followed
Gluck, who is still held up to the student as one of the very
best models. His " De Profundis" (138th Psalm), and other
things, show that he might have excelled in church music.
His music seems to be but little known in America, but it
will hereafter be studied by the musical pupils of our coun-
186 ORLANDO DI LASSO.
try, and " Iphigenia in Aulis," at least, will be found in the
libraries of all those who wish to analyze the very best speci-
mens of song, and of recitative. Extracts from several of
Gluck's tasteful meiodies are to be found in a late work
(and most beautiful and effective pieces they are) ; but, besides
these, we do not know that any of his works have been pub-
lished with us ; and even his very popular overture, so often
played here, we believe is unknown to the American concert-
going public.
The fame of Orlando di Lasso rests very much on his con-
nection with David (good company, truly !) ; and his psalms
are studied as aflbrding some of the finest examples of counter-
point, or four-part voice-writing, that can be found. In this re-
spect, these old masters have not been surpassed by any who
have followed them ; indeed, some of the best theorists have
told me that no one now can equal them. Haydn and his fol-
lowers have made great advances in all that belongs to instru-
mental music, but the capacities of the voice, it would seem,
were thoroughly understood by the old composers. As Bach
carried the fugue to perfection, so Palestrina, Orlando di Lasso
and others worked out the full problem of vocal four-part
writing.
It is pleasant to the musician to see such monuments as those
I have mentioned erected to the memory of the great compos-
ers ; and the statues of Orlando di Lasso and of Gluck, side by
side, seem happily to unite the different schools and ages repre-
sented by these two distinguished men.
An anecdote shall close this communication. When in Ber-
lin, we had the pleasure of an interview with Professor Dehn,
one of the most learned musicians in Germany. Prof, Dehn
has charge of the musical department of the Royal Library,
and, as he was showing us the valuable and scarce old books,
PESTALOZZI AND NAGELL 187
he came to Orlando di Lasso's Psalms. Wishing to express a
decided opinion, aiid not being able to speak much English, he
took the volumes into his hand, and touching me, to call my at-
tention, gave them a very intelligible and affectionate kiss!
Professor Dehn has edited a new edition of some of Orlando
di Lasso's best works.
LETTER XXXII.
Peatalozzi— Nageli'-Church Service— Sunday flcbool— ^aered Concerts in America—
Schnyder Yon Wartenaee.
Zurich, Jane 7, 1852.
Pestalozzi lived here, and so did Nageli ; and here the first
efforts were made to apply the principle of inductive teaching
to music. The work of Nageli and Pfeiffer was excellent, and
its influence has been felt far and wide. Other manuals, based
on this, have been since published, better adapted, perhaps, to
the common purposes of teaching ; but the work of Nageli and
Pfeiffer is a text book which eyery teacher should study until
he makes the principle his own. "The Boston Academy's
Manual of Instruction in Vocal Music," is the only work of the
kind in English, so far as we know, in which these principles
are carried out. Nageli died in December, 1836. A very
handsome monument of black marble, surmounted by a bust,
has been erected to his memory, dedicated by the Swiss Sing-
ing Societies to^their " Vater Nageli." He died at the age of
sixty-three. His family, consisting of his wife, son and daugh-
ter, still live in the same house in which he died. The son
and daughter are both well-educated musicians, teachers and
composers.
188 ZTTRIOH.
The contrast between the Lutheran diurches of Germany,
and the Zwinglian churches of Zurich, is very great in the Sab-
bath-day service, in many respects. The great Cathedral,
where we attended, and where Zwingli once preached, is as
plain as plmn can be. There are no carvings, paintings,
crosses, statues, or anything ornamental ; not even a leather
cushion can be found, or the smallest piece of drapery about the
pulpit or elsewhere. There is neither organ, chou- nor any in-
strument of music. The seats in the centre of the main floor
are of plain, hard boards, unpainted ; this part of the house is
occupied exclusively by women. The men are mostly in the
gallery, which is divided into separate stalls, each for one per-
son. Each stall has a seat swung on hinges, that turns back
after the fashion of the old New England swinging seats of a
hundred years ago. The men on going into the church did not
sit down, but each one took his stand in one of the stalls, wait-
ing for the commencement of the service. Some took off their
hats, others continued to wear them. When the bell ceased,
the minister stepped up to the railing near the pulpit, and gave
out the pitch by sounding the four principal tones of the scale
to the syllable la, (1, 3, 5, 8,) and immediately the large assem-
bly began to sing. The singing was slow, very slow ; I have
never before heard a tune sung so slowly as on this occasion.
In singing a tune — ^^ The Old Hundredth," for example, — ^I am
persuaded tha-t the Rev. Mr. Havergal's congregation would
get through the tune by the time this Zurich assembly would
get through the first line. The hymn-book used here, includes,
also, the tunes, printed in four parts, and, although the tenor
and the alto were not to be heard, yet many of the men
made a bold attack upon the bass, which they made to tremble
with uncertainty, if not with fear. The trebles in one line
sought to attain the pitch of E ; they reached a little higher than
ZWINGLIAN CHTTECHES. 139
E|j, but jet fell short of their aim, and this caused the sinking
of the pitch, so that at the end of two stanzas it was something
like a tone below its starting point. It was well that but two
stanzas were sung ; for a new pitch would have been necessary
if the number had been much greater. Here, th«i, is a speci-
men of congregational singing without a choir or organ.
After the hymn had been sung, a prayer was read, and a
lesson from the Bible followed. At the close of this, there was
a chorus of seats7 reminding one of half a century f^o in New
England ; a chorus, which has long been discontinued with us,
and which, certainly, I never expected to hear again. Every man
let his seat fall at its own discretion. It brought vividly to
mind the time when the boys in adjoining pews used to vie
with each other in the slamming of the seats at the close of the
prayer.
At the dinner table at the hotel, I was much amused at a con-
versation between two persons who seemed to be German-
Americans, and another whom I supposed to be an English-
man. The conversation was in English, and related to the im-
provement of Americans in things pertaining to the fine arts,
music and amusements. The theatre, the opera and concerts,
were alluded to. Sunday concerts were especially spoken o^
and the ^t was mentioned that concerts on the Sabbath-day
were more frequent.
" But," said the Englishman, " they call them Sacred Con-
certs, do they noti"
" No, not now," was the reply ; " they used to call them
Sacred Concerts although they performed overtures, waltz and
dance music ; but the word is no longer needed ; it is pretty
generally dropped ; and now they simply call them concerts."
This is the progress of which they told ; and they told of
facts. We have often been surprised at the virtue of that word
140 SCHNYDEB VON WABTENSEE.
Sacred ; when thus applied, it has great power to control the
actions of many, and serves often to relieve the mind, or to
calm and quiet a disturbing conscience. If the word Sacred
were taken away from many concerts to which it is attached, it
would be &vorable to truth ; even although the words sung are
from David, Watts or Wesley ; since the words are too often
a mere apology for the song.
While at Zurich we had the pleasure of meeting the disr
tinguished theorist, X. Sghnydbb von Warteksee. He resides
at Frankfort-on-the-Main, but usually spends his summers in
his native Switzerland. He is not only a scientific musician,
but is also a learned man. He was the intimate friend of Na-
yeli, and we believe also of Pestalozzi. He is the author of
symphonies, quartets, &c., and has written one opera, but is
better known as a profound theorist than as a popular prac-
tical composer.
LETTER XXXIII.
' Univereity— Castle— singing Conventions— Wine Casks— Duels— Jerome of Prague.
Heidklbero, June 12, 1852.
There are quite a number of things here which cannot fail to
interest the traveler. The University is very celebrated. There
are usually some seven or eight hundred students attending the
various lectures. Once a year there is a grand musical festival,
many hundreds of voices uniting in chorus in one of the large open
spaces found amongst the ruins of the old castle, a mile above
the town. It was omitted this year on account of the death of
\ i
HEIDELBERG. 141
one of the royal family. On such an occasion all amusements
are suspended, and as the singing convention was regarded in
no higher view than these, it shared the i^te of the theatres and
the dance parties. We saw the place were the meetings are
usually held, and could easily imagine that the effect of a mul-
titude of voices, under such circumstances, amidst the old towers
and walls, would have been very imposing. We wandered
about amongst the ruins and apartments of the castle, one of
the most interesting in Germany. It was built and destroyed
several times before the year 1764, when it was struck by
lightning. The fire burned for eight days, and consumed most
of the interior of the vast building. The grounds around are
owned by the University. They are well laid out, and are
kept in a fine state of repair. One cannot turn in any direction
without seeing the most beautiM flowers and shrubbery, and
these shady groves afford most delightful promenades. Fine
views of the surrounding country are obtained from different
points on the castle. A cellar contains a &mous tun or toine
cask. It was made in 1751. It is thirty-six feet long, and
twenty-four feet wide. It is capable of holding eight hundred
hogsheads, or upwards of 280,000 bottles. It has only been
filled three times ; the last time in 1769 ; and if the Maine
temperance law should be adopted here, there will probably
never be occasion to fill it more.
In a valley not far distant, our guide pointed out the place
where the students of the University fight their duels. It is
not an uncommon thing to have five or six of these gentlemanly
combats in a day. There is not often a death, for the sight of
blood is usually regarded as satisfactory.
The old church of St. Peter is visited with some interest, for
it was here that Jerome of Prague, who, with'Huss, was burnt
at Constance, proclaimed the doctrines of the Keformation, and
142 ABBE YOGLEB.
on the door he posted the thesis which, together with his bold
preaching, resulted in his martyr death. One does not fear the
stake now, but the spirit of persecution has not yet been en-
tirely subdued ; and uncharitableness is not a rare thing in the
churches, even in the nineteenth century, and in our own happy
country.
We need more of musie's influence in the family, in the school,
in the social circle, and in the church; for a man cannot hate
his brother whose heart is filled with the true spirit of sacred
song.
LETTER XXXIV.
Abbe Yogler— Rinck— MuBic in Schools—The Kappelmeister's Wife and her Rose.
Darmstadt, Jane 19, 1852.
To the scientific musician, and to the lover of church music,
Darmstadt is a place of interest. Here the Abbe Vogler — ^a
name well known to every musician — ^lived, and produced some
of his greatest works ; and here, too, he died and was buried.
A plain monument of black marble, erected to the memory of
" the excellent, learned musician, and talented composer," by
Ludwig, Grand Duke of Hesse Darmstadt, stands in the old
cemetery. It attempts to tell his fame, but his various theo-
retical works, and compositions, known to all the musical world,
do it much more efiectually. He was bom in Wttrtzburg, June
15, 1749, and died in Darmstadt, May 6, 1814.
The organist, too, must be interested in Darmstadt, for here
lived RmcK, a name better known in England and America
than any other oi^an composer. He was for many years the
organist to the Grand Duke, and was universally esteemed as
EINCK. 148
a learned and accomplished musician, an elegant and tasteful
organist, a worthy citizen, and an excellent man. His only
son, Rev. George Rinck, is now a clergyman in Darmstadt,
and his only unmarried daughter occupies the dwelling where
the parents formerly lived, and which during their lifetime was
a happy home. The editor of the Musical World* can tell of
the excellence of Rinck, and of the happy domestic circle that
surrounded him, for he was intimate with the &mily, and is
still remembered by the surviving members with great affection.
Rinck's works, or many of them, have been re-published in
America ; especially his Organ School, and much of his organ
music. They have circulated in every part of the land ; so
that wherever there is an organist, Rinck is known in his works,
and studied. Whoever studies his organ music, with a tolerable
musical ability, cannot fail to form a good style. We have for
many years been accustomed to say, in answer to the question,
" How shall 1 acquire a good style of organ-playing, and espe-
cially of voluntary playing ]" " Study Rinck, for he is a sure
guide." He is not great, like Bach, but he is ever beautiful
and elegant. It was said long ago, that one who desired to ac-
quire an elegant style of writing the English language, must
spend his days and nights with Addison ; and it is equally true
that he who would acquire the most tasteful style of organ-
playing, must spend his days and nights with Rinck.
We visited Darmstadt with especial reference to the library
of Rinck, which we knew was for sale. The lover of music and
of its progress amongst us will be glad to know that it is al-
ready packed, and will be on its way to America in a few days.
If it arrives safely, it must be useful to some of the young men
who are looking forward to the musical profession. There are
now many young men who are beginning to feel the necessity
* R. Storks Willis, Esq.
144 MUSIC IN SCHOOLS.
of a more liberal education for the profession of music than has
hitherto been supposed important. One of the essentials, un-
doubtedly, is a knowledge of the German language. A man
may, indeed, make a singer or a player on an instrument with-
out this, and without much intellectual effort or study ; but to
one who aims to be a liberally educated and thorough musician,
a knowledge of the German is Indispensable ; for there are more
valuable scientific and miscellaneous books on musical history,
criticism, taste, and general musical literature, than in all other
languages togethei'. It is indeed true that some of these are
being introduced to the English reader by translation. The
recent publication of the valuable work of Marx on Musical
Theory, in New York, is an example of this ; but notwithstand-
ing all that may be done in this way, there is a vast amount of
musical knowledge that must remain iriacces'sible to the mere
English reader for ages to come. The library of Einck contains
the most approved musical treatises, and popular works on the
literature of music, that are to be found in the German lan-
guage ; with books 6f music, and especially of* church music, in
the greatest variety, from the sixteenth century down to the
present day.
Music in the schools is better taught in Darmstadt, at the
present time, than in most other places we have visited. This
is probably to be attributed not so much to the school directors,
as to the &.ct that there is in this generation a man living there,
whom God has made a teacher^ or rather one who, having in a
high degree the natural qualifications for a teacher, has, by study,
observation, and especially by experience in the strength of the
Lord, made himself one. There are but very few really good
teachers ; for the office of a teacher is one of the most difficult
to fill among men. But we have seen one here ; one whose
^eart is filled with the love of children, of his fellow-men, ana
BINCK'S GEAVE. 145
of communicating knowledge; one who, delighting to teach,
gives himself wholly to the work. He cannot live long, for
there is such a continued drawing upon his physical, intellectual,
and moral being, (and the drafts are all honored, too,) that he
must soon wear out. But such a man will live more, if not
longer^ in ten years, than many will in fifty. It is most inter-
esting and cheering to see a really good teacher before his class.
We were permitted to accompany the gentleman to whom we
have alluded to several of his classes, and to witness the inter-
course between teacher and pupils. He seemed to come up to
our recollection of Mr. Mann's descriptions, in his famous report,
when Secretary of the Board of Education of Massachusetts.
Let the music teacher obtain that report, and read it, and learn
what he ought .to be. His method was eminently Pestalozzian,
full of interest, always lively, nev.er wearisome, filled with va-
riety of illustration, and in all respects satis&ctory. We have
such teachers in America, but all are not so.
Rinck's grave is in the new cemetery. A monument of free-
stone, in the form of a cross, tells of his resting place. He died
August 7, 1846.
As we entered the cemetery in search of the grave, we met
«
an elderly lady, having in her hand a vase containing a rose-
bush, in which was a beautiful fresh and fragrant flower. We
happened to meet the keeper of the grounds, or sexton, at the
same moment that she also came up, and as we inquired for
Rinck's grave, she said — " Rinck ! I, too, wish to find Rinck's
grave !" So we went in company. When we had arrived at
the spot, she handed the vase to the sexton, requesting him to
plant it on the grave of the organist, which was carefuUy done.
" So," said the lady ; and after looking in silence for a moment
at the flower and at the monument, she took her departure. On
inquiry we found her to be the wife of a military Kappelmeister
7.
146 PRANKFOBf.
residing here ; and she had come out on a rainy day to pay this
tribute of respect and affection to the memory of one whom,
whOe he lived, all Darmstadt loved, and whose works now fol-
lowing him, all the musical world admire, Dr. Christiah Hein-
RICH RiNCK.
LETTER XXXV.
Military Music— Schnyder yon Wartenaee— Prof. Schindler— Schmidt, the Pianist^
Church Music— Organ Playing— Congregational Singing.
Framktort, June 21, 1852.
Tms is a free or independent city, of about 70,000 inhabit-
ants ; some 6,000 or 8,000 of whom are Jews. Frankfort is
the seat of the German Diet ; consequently a military force of
10,000 or 12,000 soldiers is stationed here, A part of the city
is elegantly built in modem style, but the old Tenon is the more
interesting to a stranger. The streets are often very narrow,
and the high old houses have often gables or projections jutting
out at each story, until they almost meet in the centre at the
top.
The military music is Very fine. There are many bands, as
Prussian, Austrian, Bavarian, and others. One of them plays
daily ia the s^uar; in front'of tl.e guaxd house; and, J^
one tries to surpass the others, their performances are often
carried to a high degree of perfection.
Several distinguished musicians make Frankfort their home.
The ScHNTDBR VON Wartbnsbb, so well known not only as a
learned musician, but also as a man of general literary attain-
ments, is one of these. The Editor of the New York Musical
World (R. S. Willis), knows him well, as he was for several
SOHINDLER. 147
years his pupil. He is now absent, spending the summer
months in his native Switzerland. Schindler, the biographer
of Beethoven, also makes Frankfort his residence. He has
many relics of Beethoven which he values very highly. He
conversed for nearly two hours, with great interest, on his fa-
vorite author and his works. He says that Beethoven is played
in quicker time now than formerly, and especially the allegros
in his Symphonies. These, he thinks, lose much of their true
effect by the quickness of the time in which they are played.
The first violin, or the leading melody, is heard, but the inner
parts lose their efficiency. He thinks Mendelssohn has injured
Beethoven, by giving his great influence m favor of the quicker
movement. He illustrated and proved his remarks on the de-
gree of quickness with which Beethoven himself directed his
own compositions, by anecdotes of Hummel, Hiller, Czemy,
and others, who all agreed as to the general fact. He makes
the same remark, also, with reference to Mozart and H^dn.
There can be no doubt that the time is now taken quicker, in
the performance of the compositions of these masters, than it
was when they themselves directed it; but it is doubtful
whether it will be restored. Modem associations and habits
seem to require the change ; and, it is not improbable that, had
Beethoven lived, he too might have changed with the times.
Herr Schindler remarked, that in Paris he has heard Beethoven
played with very great perfection, notwithstanding the quick*
ness of the time. The inner parts were there distinctive and
clear, but generally it is not so.
Aloys Schmidt, a fine pianist of the old school, and the
teacher of both the Messrs. Lange of Boston, also resides here.
He still plays in public occasionally.
By a recent act of the Government all places of business are
closed on the Sabbath ; so that, on this day, Frankfort appears
148 OBGAN PLATING.
much more like an English or American, than like a German
city. The act is said to have originated rather from some
political considerations, than from a religious regard to the
day.
All the churches have organs, but there is no choir in any
of them, so that the singing is, as in most other German places,
exclusively congregational. Of the several specimens we have
heard, the best, perhaps, was at the Reformed. Church. The
building is in good taste and convenient, being in size and form
much like one of our larger city churches. It is quite free,
however, from all those appearances of finery, or attempts at
display or show, which we sometimes see in our American
churches, and which are always unbecoming ; while, on the other
hand, there is nothing of the rudeness or coarseness which is to
be seen in some of the Swiss churches. It seats, probably, from
1,200 to 1,500 persons, and was, when we were present, quite
fuU.^ The centre of the house, below, was occupied by women ;
and the outside or wall slips, by men. The galleries, on both
sides, were occupied exclusively by men. The organ is lai^e,
extending nearly across the end of the house ; one njan (pre-
centor) leads the singing, aided by some twenty girls iand boys^
whose voices could hardly be heard. The organ was played in
fine church style, with dignity,* elevation, and firmness. It is
certainly a great reUef to hear these German organs (or many
of them) played without the least attempt at showing off stops,
or at that prettiness which seeks to please or tickle, without
elegance or grandeur ; and also entirely free from an evercon-
tinued and sickening seesaw of the swell, thought to be so ex-
quisitely fine by some organists in England and America.
That the swell may be tastefully used we do not doubt ; but,
its abuse is so much more frequent than its judicious use, even
by some who are otherwise truly good organists, that it is al-
SERVICB AT THE REFORMED CHURCH. 149
most doubtful -whether it would not have been better if this «m-
provem^nt had never been invented.
. The service commenced with quite a long voluntary of ten
minutes or more, consisting of an introduction and fugue. The
subject of the fiigue was, perhaps, a little too chromatic for the
dignity of worship, but it was played slowly and with great
precision and certainty. Fugue-playing is usually slower by the
good organists in Germany, than it is in some other places.
The fugue is often taken in so quick time as to produce a con-
fused mixture of subject and answer, depriving the composition
of meaning, and rendering it almost unintelligible, and quite
embarrassing to the hearer. One reason of this is obvious ; it
is vastly easier to play a fugue upon the run, with constant ac-
celeration, than it is to play it in moderately slow and strict
time. At the close of the voluntary, the minister, followed by
the session, entered ; the former took his place in the pulpit ;
the latter took their places in seats appropriated to them, on
each side, facing the congregation. The organ then gave out
the time Iosco (Cantica Laudis, p. 296) — the melody was made
very prominent, the bass was played by the pedals, and an in-
termediate figured accompaniment filled up the harmony, pro-
ducing a fine effect. The hymn, the subject of which was
'prayer to Jesus for his spirit^ was finely sung by the whole as-
sembly, all singing the melody. At the end of the first line of
the last stanza, which was doxological, the minister rose in the
pulpit, not to find hispkice in the Bible as if he was in a hurry
to cut off the last act of praise, but apparently as an act of rev-
erence, as he kept standing, -without any movement, and was
soon followed in his example by all the male part of his con-
gregation. A short prayer followed the hymn ; then an address
(extempore) of four or five minutes; after this the regular
morning prayer was read ; another hymn was sung as before,
150 SERVICE AT ST, CATHERINE'S CHURCH.
and the sermon followed. There were two hymns sung after-
wards, making four times singing during the exercises. Here
was a very simple, appropriate, devotional service for a Sab-
bath morning, — ^almost the same, indeed, as is the religious ser-
vice in our Presbyterian, Baptist, or Congregational churches,
and vastly superior to the Lutheran or English Cathedral repe-
titions and forms. But, if in addition to good choirs, we could
have the Congregational singing exercise, it would be a vast
improvement on our present forms of worship. The beauty of
the singing exercise, or its adaptedness to worship, is to a great
extent lost with us, and we need, in order to its recovery, the
congregation in connection with the choir, in the singing of
" Psalms, and Hymns, and Spiritual Songs."
We heard, also, a very excellent example of Congregational
singing in the St. Catharine Church. The congregation con-
sisted of at least some twelve hundred persons. The exercises
commenced by an ofgan voluntary of about four or five min-
utes, at the close of which the whole congregation joined in the
old choral everywhere heard in Germany, the first line of which
is 1, 5 3, 1 5, 6 6, 5, &c., in the key of E flat major. Two
stanzas were sung, each taking four minutes. At the close of
the second stanza, the organist, continuing to play, change^
gradually his key to A minor, closing an intermediate volun-
tary of about three minutes, diminishing to pianissimo so as to
hush the house to perfect silence ; then, after a moment's pause,
the people joined again to the lead of the organ, in the fine old
choral beginning as follows : e, a g, f e, d-*, e — , &c. Four
stanzas were sung of three minutes each. Here, then, were
two hymns sung in connection ; which, with the organ prelude
and interlude occupied full half-an-hour in the performance.
Men's voices predominated, marking in strength the bold out-
lines of the tune ; while female voices were heard and seemed
MATINEE. 151
to oome in edioing, enriching, beautifying, and rendering that
charming and lovely which otherwise would have been too se-
verely grand and majestic. The organ was firm and steady,
leading along the whole combined chorus with the utmost cer-
tainty, and giving full confidence to all the voices.
LETTER XXXVI.
Matinee— Mozart— Bach— Elocution— Singing— Piano Forte— Bonn— Beethoven's
Moniimeatr-CoIogne>-Aix4a'C3iapeIIe— Don Juan — ^Musical Conventionfl.
Aiz-la-Chapbllb, Jnne 34, 1852.
Just before leaving Frankfort, we had an opportunity of at-
tending a fnatinee, or very select morning concert, in the saloon
of the Mozart House. Such morning concerts are quite com-
mon in the lai^er German cities. An yidividual, having the
means to do it, employs at his own expense an orchestra, or
more probably a quartet, or quintet, makes out his own pro-
gramme, and invites his friends to spend a couple of hours in
listening to fine music. On the present occasion, an audience
of perhaps two hundred persons (the most musical people of
Frankfort) were brought together, Schindler, the biographer
of Beethoven, Schmidt the pianist, and other distinguished per-
sons, were present. The concert consisted of both vocal and
instrumental mu^c; and Music's sister. Elocution, was also
brought in, and lent her aid in the exercises of the occasion.
The programme contained the following pieces (though not in
the order in which they are here put down), viz. : — Quintet
(G. minor), Mozart, charmingly — ^I suppose it may be. said, per-
fectly played by Messrs. Wolff, Baldenecker, PoF^h, Drinnen-
bei^, and Siedentopf. Quisttet Movement, Jfozart, This
152 BEETHOVEN.
very beautiful movement by Mozart has not before been play-
ed since the year 1783. It has been recently discovered in
Mozart's own hand-"writing, among his manuscripts, which for
some twenty years have been in the family of Andre of Offen-
bach. It will shortly be published. Recitative and Air, with
violoncello and obligato accompaniment, composed by John
Sebastian Bach. This song is quite of a popular character, not-
withstanding it is by Bach, reminding one somewhat of Han-
del's most popular songs. It is a sacred song, from an unpub-
lished cantate ; but the Recitative and Song will soon be pub-
lished. Part-Songs, for soprano, alto, tenor, and bass. Two
songs were sung by a well-trained double quartet. A Poem
on Mozart was well read by a lady, having a rich alto voice,
Fraulein Graemann. The effect of introducing this elocution-
ary exercise was very pleasing, and the example is a good one
to be followed wherever a really excellent reader can be found
to sustain the part. Strangers are sometimes invited to play
in these concerts ; and on the present occasion two pianoforte
pieces, " Amitie pour amitie^'* composed by the performer, and
Doneyschock's Rhapsodie in C, Minor, were played by Mr.
William Mason of Boston, U. S. A.
On pur way down the Rhine, we made a stop at Bonn, just
long enough to see a little of the place where the great modem
composer, Beethoven, was bom, and to look upon the monu-
ment which art has here erected to the memory of one of the
greatest of artists. The monument stands upon a public square,
and consists of a fine bronze statue of the symphonist, holding
an open sheet of paper in the left, and a pencil in the right
hand. Our little company, together with a few strangers who
went to see it at the same time, stood under the deep shady
trees by which it is surrounded, and gazed upon it for a few
moments in perfect silence, and with intense interest. No mu-
COLOGNE — ^AIX-LA-CHAPELLE. 153
oician who is able to bring up to his imagination the "wonder-
ful original, can look upon this statue without a deep feeling of
reverence and admiration, amounting as nearly to worship and
adoration as may be rendered to the highest manifestations of
human genius.
The darkest, most uncleanly, and uninteresting city we have
seen is Cologne, Farina himself nor the whole company of
Farinas, can keep it dean. Yet its cathedral, though unfinish-
ed, is grand ; and there we heard the priests, with organ aid,
dumting their Gregorian mass.
At Aix-la-Chapelle, as we rode from the railroad station to
the hotel, we found the streets filled with people ; a large band
of music occupied a central position, and the whole town seem-
ed to be awaiting some important event. On inquiry, when we
reached our hotel, we ascertained that the occasion of the gen-
eral turning out was the expected return of the singers of Aix-
la-Chapelle from Lille, where they had been for a few days to
attend a grand musical festival. Different choirs had contend-
ed for a prize which had been offered for the best vocal perform-
ance, and the news had already arrived that a choir from this
place had been the winners ; and the multitude had assembled
to give them due honors and a cordial reception on their return
home. They came soon afler, but unfortunately a violent
shower of rain prevented the procession through the principal
streets that had been intended. But it did not prevent the per-
formance of Mozart's Don Juan^ which was given in a very re-
spectable manner in the evening.
Although we have been fortunate in occasionally coming un-
expectedly upon musical performances, we have necessarily lost
others, which we should have been delighted to attend ; for ex-
ample, in addition to that already mentioned at Lille, there
was, on the 22d and 23d June; a grand festival at Ballenstedt,
7*
■<>
154 PARIS.
Hanover, where a very large choir and orchestra performed,
under the direction of Franz Listz. The two most attractive
pieces were "The Ninth (choral) Symphonie*^ of Beethoven
and the " Walpurgisnachf of Mendelssohn. There is also with-
in a day or two from this date a large musical festival to take
place in Brunswick, at which the great pieces are Mendelssohn's
Elijah and Beethoven's Ninth.
But we have lost musical meetings which we value, on some
accounts, even higher than we do these. We refer to the sev-
eral conventions and anniversaries in. our country which take
place during this and the next month, to which we were honor-
ed with invitations, and some of which we have for many years
been accustomed to attend. Success to their summer assem-
blies ! We hope hereafter to be permitted to join them again
in those exercises of teaching and training which we have rea-
son to believe have heretofore been acceptable and useful.
LETTER XXXVII.
Caiurch Music— Catholic— Protestant— Old Psalms— Hotel des Invalldes— €k)ncerts— M^«
erbeer— Onslow— Adam— Heprietta Sontag— Americans— Etc^ etc.
Paris, Julf 7, 1853.
What shall we say of Church music in this city % Those
who know what it is, will not expect much, and yet we must
attempt to glean something.
The church of St. Roch is said to be one of the best with re-
spect to the musical service ; but, the singing in the mass was
so indifferently performed, the day we were present, that it is
difficult to find anything to say in fevor of it. At the Church
CHUECH "DE L'ORATOIBE." 155
of Madeleine, it was about equally good, bad or indifferent.
The faet is, the Roman Catholic service (musical) seems to re-
ceive but little attention, and to be very carelessly performed
everywhere, with the exception of a few of the Cathedrals or
Royal Qiapels of the larger cities. The best choir-singing,
(Roman Catholic,) without accompaniment, we have heard, was
at Munich ; and the best, with orchestra, perhaps, at Dresden.
We attended, last Sabbath, the Church " De I'oratoire," one
of the old Calvinistio churches of France. The church con-
tained a good-sized organ, whidi was indifferently played.
There was no choir. The organ led, and was followecl by a
very nasal precentor's voice, with a few of the congregation
joining in humming under tone ;— one of the worst specimens
of Congregational singing we have heard, yet interesting by
association, fbr it carried us in imagination to our home country
(beloved) where we have sometimes heard similar attempts.
At this, and the associate churches, the old psalms of Clement,
Marot, and Theodore Beza, with the tunes originally set to them,
are still sung. But the tunes have recently been much injured,
nay spoiled, by a rythmical arrangement by Wilhelm. He
has introduced dotted notes, which, with other things, makes
them so difficult, that a congr^ation cannot keep together in
dnging them. Even the organist did not come very near to
correct time in playing them. The Old Hundredth psalm tune
(134th, in the book here used), is turned into triple measure,
thus:
r r r I r- r I r r i r *^
The second, third and fourth lines are exactly like the first in
rythmic form. Other tunes are treated with as little judgment
and knowledge of Congregational singing.
We cannot ft>rbear mentioning in this place that we have been
r
I
156 HOTEL DES INVALIDBS.
SO fortunate as to obtain in Paris an old copy of the Bible, entitled
" CaUndrier Historial" published in 1567, containing the origi-
nal " Les Pseavmes mis en Rirne Franqaise par Clement Maroty
and Theodore Beza,'''* The word Bible is not used on the title-
page or elsewhere. It was printed at a time when the Bible
was not permitted, and the title " Calendrier Historial," was
adopted, that the soldiers, who could not read, but had learnt the
word " Bible," should not, when they cam^ round to search, be
able to identify the book, and thus it would be preserved.
After the title-page, it contains a '' lectevr on Almanacks and
Calendriers^^ and a '^ TahU dv cycle solaire, Lettre Dominicale^
Bissexte, Pasque^ Nomhre cPor^ and indiction RomaineP
We attended the service on Sunday at the " Hotel des Inva-
lides," to witness the manner of worship provided for the old
and disabled soldiers, who find their support here. They were
formed in two single columns, one on each side of the centre
aisle, each man bearing a flag-fitaii^ which was " carried," '' or-
dered," " presented," &;c., at the word of command.
Th(B religious exercises commenced by a grand voluntary, by
the military band in attendance, which was nothing more or
less than the overture of the Caliph of Bagdad^ by Boieldieu.
The grand military mass now followed, and it consisted of a
succession of popular operatic airs, played by the band, with an
occasional roll of the small drums, an " order," or a " present "
by the old soldiers, and a pantomime by two or three ministers,
bowing, kneeling, crossing, &c., (Ssc, now here and now there.
Words or thoughts are not necessary in such a worship as this,
which seems to be designed for mere external sensuous im-
pression — ^yet there were a few words chanted by the drum-
mers, towards the close of the solemnities,
" It is a very solemn service," said a young man, whom we
happened to fall in with as we came away, and whom, from his
OOITCEBTS— ADAIC. 157
speech, we supposed to be an American or an Englishman. So
may a theatrical exhibition, or other spectacle, or pageantry, be
solemn, and yet be quite without that '^ spirit and truth " so es-
sential to religious worship. To see these things is enough to
make one long for the simple worship of a church of the Puri-
tans ; yet, there are young men who come from America, and
see, first, perhaps, the Puseyite worship in England — then the
more consistent Roman Catholic fi)rms, and become decided
Romanists, and, perhaps, take upon them Holy Orders.
There are a multitude of concerts here, and musical festivals ;
grand orchestras of many performers, under distinguished con-
ductors ; and they play grand '^ QuadrilleSy Valses, Polkas, Ma-
zurkas, Bedowas, Sckottisches, lea plus en vogue ;" with '' Cloches,
Orehts, Fonets, Vapeurs, Tam-tam, Coeur-infemal, Feude Ben-
gaUy etc,, etc" Our Grand Concerts " every night in the week,
Sunday excepted, as whites and Ethiopians" are not inferior to
these Parisian daily grand performances. It is but justice,
however, to say that the concerts of the ^' Conservatoire de
Musique " have a very high reputation ; so that even the Ger-
mans say that at them Beethoven is admirably performed.
These are now closed for the season. Meyerbeer has been in
Paris several days. He is out of health, and is soon going to
the waters of Spa. Six representations of his opera " Struen-
z6e " have been given lately in Hambui^.
Onslow, the composer, is suffering with a severe malady of
the eyes, which causes him, for the present, to rest from his
labors.
A new mass, by Adam, was lately performed in the town of
Avray. The composer, accompanied with a choir of singers,
went from Paris for the purpose, taking with them one of
Alexander's melodeons, and a harp, as a substitute for organ
and orchestra. The accompaniment was so arranged and dis-
158 SONTAG — ^AMERICANS.
tributed between the reeds and the strings as to produce a fine
effect. A Credo from Cherubini, and a Gloria hj Dietsch, were
also well performed.
A late Munich paper contains an account of the last concert
of Henrietta Sontag in that city. It was given for the poor of
Munich ; and, after its close, the artists and amateurs of the
city complimented Mad. Sontag in a manner " worthy of them-
selves and of her." As they were bidding her farewell, in the
name of the Bavarian public, they formed a circle around her,
and sang a chorus composed many years since in her honor.
Madame Sontag was deeply affected at recognizing in the words,
an ode which was written for her by the present King of Bava-
ria, Maximilian II., when he was Crown Prince, at the Univer-
sity of Berlin, in the days of her first triumphs, upwards of
twenty years ago. From Munich Madame Sontag went to
Ems, where she spends a few weeks for rest, and will then soon
proceed to New York.
Mr. C. C. Perkins, of Boston, is here, ' industriously pur-
suing a course of scientific study. He has cultivated a taste
for the most classic compositions ; and his influence upon the
Art must be of the highest advantage to American music, and
to the progress of music generally in our country. He intends
to continue his studies next season in Germany.
We have had the pleasure of meeting here, also. Dr. S. P.
Tuokerman. Dr. T. has now been in England for several
years, studying the English church music. He has received
the degree of Doctor of Music, from the Archbishop of *Can-
terbury ; the first instance of the conferring of the honor on an
American. Dr. T. has just returned from a musical tour
through Italy, and he intends to visit Grermany the coming
winter.
Mr. Nathan Richardson, of Boston, left Paris a few days
AMEMCAN MUSICAL STUDENTS. 159
since for London, whence, after a few months, he will re-
turn to his native country, to commence his musical professional
career. Mr. R. commenced his studies, we believe, under Mr.
Webb ; after several years' study in Boston, he went to Ger-
many, where he remained about four years ; he then spent some
six months in Paris. He has all this time been under the best
masters that could be found, and he has turned his special at-
tention to the art of teaching. We rejoice in this, for there
may be those who play well, or sing well, or are good theorists,
and understand all harmony, counterpoint, and fttgue, but who
are poorly qualified to teach. Indeed, to be a good teacher, one
must have a genius for it, and a delight in it; and, when we see
a young man devoting himself to this particular musical de-
partment, and pursuing it with steadiness and perseverance, we
may conclude (if we may judge of one of his works), that he
has the love of it in his heart. Success must follow. So may
it be in the present case.
Mr. J. C. D. Parker still pursues his studies at Leipzig.
Mr. S. P. Homer, and Mr. William Mason, are in Frankfort.
We daily meet Americans in Paris ; some seeking for health,
some for pleasure, and many for knowledge in some depart-
ment of science or art.
LETTER XXXVIII.
Singing in the Jewish Synagogue ; also in the Church St. Roch.
Paris, July lli^ ISSS.
On Friday evening last, we att^ided the regular service at
the Jewish synagogue. There was a congregation of perhaps
three hundred men occupying the lower part of the house, and
160 JEWISH SYNAGOGUE.
a few scattering women were seen in the gallery. The men all
sit or stand with heads covered ; and although four of us Am-
ericans took off our hats when we entered, we were told to put
them on again, and obeyed orders. There was very little ap-
pearance of reverence or solemnity ; indeed, none that could
be observed. The appearance of the assembly was somewhat
like that of a New England town meeting, after having been
called to order by the chairman. There was a choir of about
twelve or fourteen boys, with men for tenor and bass, and the
harmony parts were sung. All the service was chanted, in a
responsive manner, by priest or priests, choir and people, with
the exception of two airs and melodies, which were sung by
the choir. These were both modem, and even the chants did
not seem to come from David or Solomon, but were more like
the common chant, somewhat modified by a kind of recitative
or declamatory manner of utterance. On the whole, the Jew-
ish service here was not one of much interest, considered either
religiously or musically.
On Sabbath morning, we attended the Eoman Catholic service
at St. Roch. Music receives more attention here than at, per-
haps, any of the other Paris churches ; and the whole mass was,
to-day, quite well done. The choir, including ministers, boys,
and all, numbered about fifty persons. There are two organs ;
a large one at the end of the gallery, occupying about the place
in the house that organs generally do with us ; and a smaller
one in the choir, near the altar. This latter was used exclusive-
ly for accompaniment, and the former, or large one, was play-
ed only when some flourish of overture or march triumphant
was desired. Then it sent forth its tones loud and jubilant, so
as to make the welkin ring again. The music was quite mod-
em ; as much so as if composed by the latest Donizetti or Ver-
di, and quite in the orchestral, anti-ecclesiastical style. It was
LONDON. 161
indeed vocal, — ^words were sung ; but, as they could not be un- ,
derstood, the efiect of the- whole was such as is the musical effect
in a grand pantomime. Indeed, the worship in the Koman Cath-
olic cathedrals seems to be little else than a mute,gesticulatory
action of bowings, crossings, and kneelings, with grand proces-
sions, musical accompaniment, &a Musically considered, how
ever, the performance was good. It was prompt and energetic,
and the pianos and fortes were well observed. The organs too,
though far different from the German style, were pliayed with
all the power of execution that could be desired.
LETTER XXXIX.
Concert of ihe Musical Union— Church Mmio— London Sacred Harmonic Society-
Opera Singers— Henriette Sontag— Spohr.
LoNBOR, Atigdst S, 1853.
Wb did not arrive in London until after most of the musical
season was over ; consequently there is not much to be heard.
On the very day of our arrival, however, we had the pleasure of
attending a very fine performance of " The Musical Union."
The following was the programme for the occasion :
1 — Quintet, G minor Mozart.
Allegro, Adagio, Minuet, Finale.
MM. SxvoEY, Mellon, Vieuxtemps, Ourt, and Piattl
2— Trio, E flat. Op. TO Beethoven.
Adagio and Allegro, Allegretto, Mirncet, Finale.
MM Hallo, Sivory, and Pl&tti.
8— -Leidee . , » Mendelssohn.
4 — Quintet, Op. 20 • Beethoven,
Allegro, Adagio, Minuet and Trio, Presto.
MM. Vieuxtemps, Mellon, Ourt, Webb, and Piatti.
162 SCOTCH CHURCH.
Here waa a pix^ramme worth one^s attention, whether the
compositions, or the performers be considered. It was inter-
esting to see sach artists taking subordinate parts, that the com-
positions might be as perfectlj rendered as posdble. It is
needless to add that the result did not disappoint expectation.
This was the last concert of the Union for the season. Sixteen
performances have been given; eight evening concerts, and
eight subscription matinees. The Union have secured the verj
best artists ; and three Italians, two Hungarians, two Bohemians,
two Belgians, one Bavarian, three Prussians, one Austrian, one
Frenchman, and Jive Englishmen, have been employed. So, it
seems as many foreign artists are employed in London as in
New York.
On Sabbath last we attended public worship at the Scotch
Church, under the pastoral charge of Dr. John Gumming. Dr.
Gumming is a very popular preacher ; his house is generally
crowded, and it is not easy always to obtain seats — which favor,
however, we procured, through the politeness of the leader of
the singing, Mr. Purday. The order of exercises observed in
this church is an excellent one, and I therefore copy it.
I — Singing — ^a Hymn by the Congregation.
II — Prayer, half as long as the Prayer usually is iu Presbyterian
Churches.
HI — Choir Singing. An Anthem.
IV — Reading Scriptures, with Exposition.
V — Hymn, sung by the Congregation.
VI — Prayer, about the length of the first.
VII — Sermon.
VIII — Singing by Congregation. Notices.
IX — Concluding Prayer, and Benediction.
The standing position was observed in the singing exercises,
and the sitting posture in all others. I will not attempt to
CHUKCH MUSIC. 168
report the sermon, but will only observe that one more plain,
feitMil, and edifying can hardly Tpe imagined. Hie text was
" It is good for me to draw near unto Ood/'
It will be observed that the singing exercise occurs four times;
thrice by the congregation, and once by the choir exclusively.
The people generally united, although the tunes, (with the ex-
ception of the last, which was York,) were too difficult to justify
the expectation of the best congregational singing. The old
tune of Martyrdom was sung ; but in singing it, the people
could not keep together, on account of the triple measure, and
the crotchets in the fourth line. The other tune (we do not
know its name) was so high that many could not reach the
pitch. A congregational tune should not go higher than D, or
Eflat.
At three o'clock we attended the Episcopal service, at Lin-
coln's Inn Fields. Mr. J. A. Novello is the principal bass in
this choir. The service was quite well done, and the popular
anthem by Purcell, " O give thanks," was highly interesting.
In the sermon there was a great falling off, indeed, from that of
the morning.
In the evening we attended the Baptist Church, Devonshire
Square, Bishopgate street. A precentor, standing in front of the
pulpit, led the singing. He first read a stanza, and then it was
sung by all the people ; and, thus, the whole hymn was alternately
read and sung. The same obstacle to success in Congregational
singing was observable here, as at the Scotch Church in the morn-
ing — the tunes were too difficult, and the effect of the singing was
wretched. We are more and more satisfied that tunes must be
made more simple in time, and limited in compass of melody, to
insure success in this form of church song. The St. Nicholas
Church in Worcester, England, has the true Congregational style,
164 SAOEED HAEMONIG SOCIETY.
and when that, which we have heretofore described, shall univer-
sally prevail, Congregational singing will be excellent and effective.
We have recently attended a rehearsal of the London Sa-
cred Harmonic Society, under the direction of Mr. J. Surman,
There are two societies meeting in Exeter Hall ; the Sacred
Harmonic Society, under the direction of Mr. Costa, and the
one before mentioned. There were about one hundred and
fifty members of the choir present at the meeting of the
London Sacred Harmonic Society^ with an accompaniment of
about twenty stringed instruments. A new Anthem, by Dr.
Elvey, of Windsor, was sung, and also Mozart's Twelfth Mass.
The performance was decidedly poor — ^vastly inferior to the
German choruses which we have recently described. The time
was tolerably well kept, but tune was fer enough from accuracy.
The. same feeling about for the pitch, and uncertainty of tone,
was observable in the more difficult modulations, which is so
common with our untrained New England choirs; with thi^
difference, however, that we occasionally stop to correct a badly-
intoned passage, whereas here it was passed over as if unob-
served, or as if such a dissonant performance had become a
matter of habit. There was, too, an absence of all those things
that go to make up a good choral performance, as Forte and
Piano, SforzandOy Syncopated accent, distinctness and clearness
of vocal utterance, dc. The leader would occasionally sing out
at the top of his voice, " Piano," but he did not seem to expect
that attention would be given to what he said, and kept on,
under a press of sail, until another opportunity should occur for
calling out with like result.
This was, indeed, a rehearsal ; but if a choir is permitted to
sing thus in rehearsal, will they not form habits that will pre-
vent improvement, and will not the public performances be of
the same general character 1
SPOHR. 165
The violins were badly played. One could hardly help com-
ing to the conclusion that they were mostly beginners, assembled
for practice. It would not be surprising to hear as bad, or even
a worse, rehearsal, on the Western Continent ; but, in Europe
there should be, at least, a correct performance of the technicals
of music, if not something belonging to the higher department
of appropriate expression.
The contrast between the singing of this choir, and that of
many of the choirs which we have heard, during the last six
months, in Germany, is very striking indeed, and tells much to
the praise of the latter with respect to progress in the perform-
ance of vocal music.
We have not spoken of the great singers ; the fact is, they
have been often described and criticized ; and then, again, we
have not had opportunities of hearing them often enough to
come to a full appreciation of their various positive or compar-
ative excellencies; and, besides, it is with respect to church
music that we wish more particularly to make report. Mod.
De la Grange, of whom we wrote from Leipzig, has been sing-
ing for some time past with good success. Ghisi, Mario, Formes,
Lahlache, Castellan, Favanti, and others of less distinction, are
singing as usual ; and the papers tell us that the most charming
artist, Henriettb Sontao, is engaged for a short time in Lon-
don, previous to her departure for America. There is no singer
who seems to give more universal delight than Mad. Sontag ;
and we are truly glad that there will ere long be opportunities
of hearing her on the western shores of the Atlantic.
The great composer and violinist, Spohr, is now here, super-
intending the performance of his opera, ^t^^, in which he has
been very successful. It has had several representations to full
houses, and the author has been much honored. But the opera
is too good (musically considered) to be very popular. Musi-
166 WEIGH HOUSE CHAPEL.
cians will delight to hear it ; but it contains too much musical
learning for the many. The lighter and more unmeaning com-
positions of the Italians are better appreciated.
" It is very good, it will do for the Germans," said a French-
man, as he came away from hearing Faitst,
Yes, it will do for the Germans, provided they be musically-
educated Germans ; but, whatever be the country to which one
belongs, or in which he was bom, he cannot understand or like
Spohr, unless he has a cultivated musical taste. He is a great
and a learned, but he can never be a popular, writer. He is
too good for common use.
On Sabbath last we attended Rev. Mr. Binney's church, Fish
Street Hill, Weigh House Chapel. Mr. Binney was in Amer-
ica a few years since, and is well known to many persons there.
He is not only an excellent preacher ; but, although not a mu-
sician, he is a lover of music, and has done much to promote
psalmody among his own people. The order of the service in
his church is most beautiful ; I hardly know that it could be
improved ; it is as follows :
I — ^InvocatioD. The liord's Prayer alone was used the Sabbath we were
there.
II — Hymo.
III^-Reading first lesson from Scriptures.
IV — Prayer — ^half as long as the long prayer in American churches.
V — Psalm, chanted
YI — Reading second lesson from Scriptures — ^New Testament.
VII — Prayer, about the length of former.
Vm— Hymn.
IX — Sermon.
X — Anthem, a hymn. '
XI — Very short prayer, and benediction.
There is no choir ; the singing is congregational, and led by
CONGBEGATIONAL SINGING. 167
a precentor. It was quite good ; one does not often hear a
better performance of this part of the public worship, but yet
it would be much improyed if simple tunes, appropriate to Con-
gregational singing, were substituted for the too difficult ones
attempted on the Sabbath we were present. A peculiarity of
the singing here, is, that the whole congregation engage in
chanting. Hie 24th Psalm was chanted to one of the plain old
English diants, with an effect far, very fiir better than one hears
when he listens to the trained Cathedral choirs. We have
heard it said that a congregation cannot chant together. It is
not true : this congregation kept quite well together ; nearer
together than such Catiiedral choirs keep, as we have heard. A
very little practice of such a chant as Tallis^ or J)r. Tumer\
will prove the truth of this assertion. Another peculiarity of
the singing here, is, that the congregation sing anthems. They
have a little book containing a collection of three anthems for
congregational use. Smile not at the number ; it is sufficient
for their purpose^ and, when more are required, they can easily
be obtained. Anthems, however, for Cohgregational use, must
have a simplicity such as can hardly be imagined by one accus-
tomed to the chants that commonly prevail in choirs. We are
fully satisfied that not only CongT^egational hymn-tune singmg,
but Congregational anthem singing, and chanting, may be suc-
cessfully introduced where there is a desire for it, and where
there is a necessary knowledge to guide in the selection of ap-
propriate pieces ; and we should not be afhud to undertake to
insure success to a congregation who would give us one or two
hours preparatory practice. Mr. Binney's sermon, on Christian
growth and development, was most able and satis&ctory. The
standing posture was observed in singing, and the sitting pos-
ture in prayer and the other exercises.
From Mr. Binney's we went directly to the Chapel Boyal,
168 KEV. BAPTIST W. NOEL'S CHAPEL.
St. James, where we heard an excellent oi^anist, a poor choir,
and an uninteresting preacher.
Hence to Westminster Abbey, at three o'clock. Excellent
organ playing, but all else yery indifierent.
LETTER XL.
Chorch Maaic in the Chap«l of Rev. Baptist W. Noel.
Mr. Noel has been, until recently, a clergyman of ^e Estab-
lished Church ; .he left this a few years since, and is now the
pastor of a large and flourishing Baptist congregation in John
street. We have not often attended a public religious service
more satis&ctory than that in his chapel ; and we know not that
we have ever listened to a preacher with greater interest. His
subject, the morning we heard him, was The Sabbath. His
text, Isaiah Iviii. 13, 14, — ^'^ If thou turn away thy foot from the
Sabbath, from doing thy pleasure on my holy day; and call
the Sabbath a delight, the holy of the Lord, honotable ; and
shalt honor him, not doing thine own ways, nor filidmg thine
own pleasure, nor speaking thine own words : Then shalt thou
delight thyself in the Lord ; and I will cause thee to ride upon
the high places of the earth, and feed thee with the heritage of '
Jacob thy father, for the mouth of the Lord hath spoken it."
The heads of his discburse were —
1. The authority for the Sabbath.
2. The reasons for keeping the Sabbath.
3. The manner of keeping the Sabbath.
4. The blessings of keeping the Sabbath.
Sudi a dear and convincing argument for the Sabbath, and
REV, BAPTIST W. NOEL. 169
yet so perfectly plain and easy to be understood, we know n'^
that we ever heard before.
The manner of the preacher, whether it relates to general
pulpit deportment or to style of delivery, is admirable. His
appearance is very plain, being mthout the ornament of sur-
plioe, gown, or bands. He is dignified and solemn, without the
least approach to formality or ceremoniousness. His voice is
not remarkably good (it is strange that preachers do not try
more to improve quality of voice), yet not disagreeable, and
his speech is excellent. Every word and syllable is beautifully
spoken, with a clear and distinct articiQation, but yet so natu-
ral and easy as to be &r removed from affectation of exactness
or precision. He appears to be entirely free from the scolding
style on the one hand, and the canting or whining on the other ;
nor does he assume the dictatorial, authoritative way that is
sometimes seen, which seems to say, *' Listen to me ; I am the
Doctor!" Yet there is a clearness and thoroughness in his
" treatment of a subject which makes one feel that he is in the
presence of a teacher who needeth not to be ashamed, and of a
preacher who rightly divines the word of truth.
But I am forgetting the psalmody. There is neither oi^an
nor choir in Mr. Noel's chapel. The singing is entirely Con-
gregational, and is led by a precentor, who occupies a secondary
pulpit in front of that of the minister, and who, in addition to
his singing duties, reads the notices. He gives out the hymn,
proclaiming its number, and also at the same time gives the
name of the tune ; then he reads a stanza which is immediately
sung by all the people, and in like manner the succeeding
stanzas are read and sung. It is not easy to see why the stanza
is read before it is sung, since all the people have hymn-books,
and many of them also tune books. The singing of the psalms
was as good as may be expected where choir tunes are used for
8
170 CONGREGATIONAL SINGING.
congregational purpose9. The tunes here were alt<^ether too
difficult for the people's use ; difficult in rhythmics and difficult
in melodies. The attempt too, to sing in parts, was not in all
cases productive of the greatest good ; for example : We stood
by the side of a young man who was furnished with a tune book
containing only the bass part. In the first tune we sung out
the bass with as much voice as we could conveniently com-
mand, but with the second tune we were unacquainted, and
could not therefore join in the exercise. This was observed by
the young man, who drew near and held out his bass part, thus
enabling us to sing. But he, while he was looking carefully
first at his hymn book and then to his tune book, so as to be
sure and be right, was, with his bass part before him, singing
all the way the treble part^ two octaves below the pitch/ How a
little knowledge may expose one's ignorance !
The general eflfect of the singing was, notwithstanding these
drawbacks, very good, vastly better than some of the attempts
at musical display which we have witnessed in churches in
England and on the Continent ; and if it was not mudcally at-
tractive^ it was religiously edifying^ and served to revive the
afiections and lift them upwards.
The standing position was observed in singing, and the sit-
ting position in prayer. The people generally had Bibles, and
often referred to the texts which the preacher quoted.
DUSSELDORF FESTTVAL. 171
LETTER XLI.
Great Mn&ical Festiyal at Dusseldorf.
DussKLDORF, Sept. 18, 1852.
We had heard of this festival, but had giveii up all expecta-
tion of attending it, because of distance, time and expense, and
supposed we had left Germany not to return, until we had the
pleasure of meeting in London, the celebrated composer, Spohr,
who was there superintending and directing the performance of
his "Faust" Upon the recommendation of so distinguished a
man, we decided to retrace our steps, and make the journey
back again to Germany, for the purpose of seeing and hearing
what we could of the musical gathering at Dusseldorf, (in
Prussia,) hoping that we might learn something from it, or that,
at least, such an imperfect report of it as we might be able to
give, would be interesting to our home musical friends, all of
whom we suppose are, or certainly ought to be, readers of Thb
Musical World. Accordingly we left London on Thursday,
29th of July, at twelve o'clock, in the steamer for Antwerp,
where we arrived at six the next morning. We stopped long
enough to visit the Cathedral, and the Church of St. James,
where we heard a part of a mass sung by the priests, with organ
accompaniment. The effect was solemn at the early morning
hour, but there was nothing in the performance peculiar, or dif-
fering from what one hears in all Roman Catholic places. Leaving
Antwerp at half-past nine, A. M., we arrived at Cologne at six
o'clock, P. M. Here, on the following morning, weJiad another
opportunity of wandering about through the great unfinished
Cathedral, and the unexpected pleasure of meeting two Ameri-
can friends. Rev. Dr. W. and son, from New York, with whom
we spent several hours in visiting places of interest, and who
accompanied us to Dusseldorf. The fine Church of St. Peter
172 CHURCH OF ST. PETER.
was one of the places we visited. At this church is one of Ru-
ben's great pictures, " The Crucifixion of St. Peter ^"^ This cele-
brated picture was taken away from Cologne by Napoleon, and
was placed in the Gallery of the Louvre, at Paris, where it re-
mained for many years. Its place was supplied by an artist at
Cologne, who painted the same subject from recollection. On
the return of Ruben's picture to Cologne, that which had been
furnished by the modem artist, and which had occupied the
place of the great picture, was retained in the church, and so
placed at the back of the Ruben's that the two may be seen in
immediate succession, by the turning of a pivot. The contrast
is most striking and instructive; for, although the modem
painter undoubtedly deserves much credit for his very successful
effort, one is most forcibly struck with the amazing power of the
great artist, by viewing the two pictures in such close connec-
tion. The church of St. Peter contains a very fine organ, one of
the best we have ever heard. In the clearness, firmness, de-
cision, and stability of its tones, it is not excelled. Leaving
Cologne at eleven o'clock, A. M., we arrived at the end of our
journey in an hour and a half
Dusseldorf is a pleasant German town, of nearly forty thou-
sand inhabitants, a large majority of whom are Roman Catho-
lics. The Festival was one of the " Grosses MS,nner gesang
feste," (great men-singing festivals,) common in some parts of
Germany, at which singing societies, consisting entirely of men,
in a certain district of country, assemble and spend three or
four days in musical and other festivities. The primary, or
professed object of these meetings is, to sing (strive or contend
by song) for certain prizes. Valuable pieces of plate are pre-
pared and awarded to the most successful chorus performances.
In addition to this, premiums are given for the best original
vocal compositions. On the present occasion there were Hiree
DUSSELDORP FESTIVAL. 173
premiums given for compositions, and seven prizes awarded for
the most approved performances. The most highly-valued
prize was an elegantly-wrought vase of silver, presented by the
government of the city of Dusseldorf ; the others were vases or
cups of silver of various forms, and beautiftil workmanship, pre-
sented by individuals, or procured at the mutual expense of th§
societies. There were present on this occasion twenty singing
societies, consisting of from twenty to sixty members each, be-
sides delegations from twenty-nine other societies^, who did not
enter as competitors for the prizes. The competing societies
were divided into three classes, according (as we were told) to
the number of inhabitants of the town to which they belonged,
though there may have been some other principle of classifica-
tion with which we were not made acquainted. There were two
prizes prepared for the first, two for the second, and three for
the third class. The following named persons, all composers
of high standing, constituted the two Committees, or Boards of
Judicature, by whom the awards were made :
COMMITIEB ON COMPOSITIONS.
Herr Musik Director, Robert Schumann, Dusseldorf.
Herr Musik Director, Ferdinand Hiller, Paris.
Herr Musik Director, L. Spohr, CasseL
Herr Musik Director, Julius Tausch, Dusseldorf.
Horr Musik Director, W. Knafpb, Dusseldorf.
COMMITTBE ON PERFORMANCES.
Herr Musik Director, Robert Schumann, Dusseldorf.
Herr Musik Director, Bertelsmana, Amsterdam.
Herr Componist, Beyer, Mainz.
Herr Capellmeister, Fischer, Mainz.
Herr Musik Director, Ferdinand Hiller, Paris.
Herr Componist, Messer, Frankfurt.
Herr Capellmeister, Reichardt, Berlin.
Herr Musik Director, Tausch, Dusseldorf.
Herr Musik Director, Knappr, Dusseldorf,
174 DUSSELDORF FESTIVAL.
Here is an array of musical strength, surely ; and it was no
small gratification to sit and look around upon the individuals,
and to observe the physiognomies of these distinguished men,
during the performances to which they were listening, and with
respect to the comparative merits of which they were soon to
express an official and public opinion. With some of these
gentlemen, thus assembled from various parts of Europe, we
had the pleasure of a mediate interview, conversing through an
interpreter, and especially with Herr Componist Messer, of "
Frankfurt, Director of the Orchestral Concerts there, whose
compositions for stringed instruments, and for full orchestra,
are so well known and much approved. Herr Messer's lodg-
ings were at our hotel, and we had, at least, a good long Ger-
man-dinner interview with him daily. He is a very thorough
musician, scientific and artistic, and is well acquainted with the
works of the most celebrated composers, from Paxestrina down
to Mendelssohn. Like many of the Germans whom we have
met, he was polite and attentive, and always ready to commu-
nicate information to American visitors.
The, performance commenced on Sunday,' 1st August, at five
o'clock, P. M. The morning was much occupied (as the pre-
vious day had been) in making various preparatory arrange-
ments, and in ornamenting the city, especially those streets and
squares through which processions were to pass. The streets
(many of them narrow and without sidewalks) were filled with
workmen and lookers-on. Branches and boughs of trees, as
pines, birches, maples and the like, were brought into town in
abimdance, and planted on each side at short distances, so as to
give the idea of pleasant woods, thick groves, and cool, shady
parks. The fields and the gardens yielded up their flowery
treasures, and windows, doors, balconies, walls, corridors, and
aisles were decorated with garlands and festoons of Nature's
DUSSELDOEP FESTIVAL. 175
gayest colors. Flags and pendants were suspended from the
windows, and waved from the roofs of the buildings; the
Prussian eagle proudly spread her wings upon the walls of
many houses ; the colors of the German States were waving
harmoniously together, and the banners of the Fine Arts, with
appropriate inscriptions, particularly those of music, poetry and
painting, were especially honored, and floated triumphant amidst
the standards of electorates, dukedoms, and kingdoms. The
•* dwellings of the inhabitants, which were very generally opened
for the gratuitous lodgings of the singing guests, were, many of
them, most beautifiiUy ornamented, and various ensigns,
armorial devices, or mottos in garland frames, were suspended
from the walls, often crossing the streets from house to house,
welcoming the sons of song, telling of music's praise, or pro-
claiming the divinity of art. Indeed, art seems to be the only
God to whom many here pay their vows.
At six o'clock in the morning (Sunday) we attended a Roman
Catholic service, consisting much in choral singing. At half-
past eight we went to the " Kleine Kirche," Protestant. The
house was crowded, and many were standing ; the service was
simple, without liturgy, and not differing much from the Con-
gregational or Baptist form of worship in the United States.
From this we went at ten o'clock to the " Grosser Kirche,"
also Protestant. Here the house was larger, but the congregar
tion smaller. The order of service was nearly the same ; the
organist acted also as precentor, or leader of the singing ; be-
sides him there was no choir ; he, both by his instrument and
his voice, caused himself to be heard. As we left the church,
we found the streets crowded with people ; men, women and
children, arrayed in gay attire, bearing flowret wreathes, or
sprigs of woody green, all manifesting the highest degree of ex-
pectation, eagemdfes and joy ; and, indeed, the whole population
176 • DUSSELDORP FESTIVAL.
seemed to be full of animation, gaiety and gladness, joyfnlly
welcoming this commencement day of festal mirth.
Some of the societies arrived on Saturday evening. " These
were greeted in the most friendly manner," says a Dusseldorf
paper, " and conducted by the Committee of Arrangements to
the various families in tjie town who were expecting them,
where they spent the happy evening midst the chink of wine-
glasses, joke and song." At about eleven o'clock, (Sunday,)
the singing societies of Dusseldorf, together with such of the
visitors as had already arrived, assembled at the Hotel " Prince
of Prussia," and at the railroad station near by, to receive the
various societies as they came in by the different trains. When
all had arrived, or at about twelve o'clock, a grand procession
was formed, numbering over sixteen hundred singers, which, ac-
companied by two bands of music, one at the head and the
other in the centre, amid the ringing of bells, the roaring of
cannon, the waving of banners, and the shrill sound of trumpet
and drum, moved triumphant through various streets, to the
" Rath-haus." Beautiful faces were seen at the windows of the
houses, and smiling and joyful countenances, and the waving of
handkerchiefs, cheered the spirits of those who were already not
a little excited. The square in which the " Rath-haus" is situ-
ated, was filled by the dense crowd, and presented a most
brilliant appearance. It was everywhere decked with flowers
and flags ; and from its centre the statue of the Elector Johann
Wilhelm, seemed to look on with approbation, participating in
the general joy. When the societies had assembled in the
large hall of the " Rath-haus," they were addressed by the
" Burgermeister," (Mayor) who, in a short speech, bid the sing-
ers welcome to the town. He met an immediate response, in
the three times " Hurrah for Dusseldorf," which the assembled
singers immediately raised, and in which they were joined by
\
DUSSELDORF FESTIVAL. 177
the multitude without, in cheering loud and long. As soon as
silence was restored, the President of the " Concordia" Society
from Bonn, replied to the speech of the Mayor, in the name of
the assembled multitude. This speech was also followed with
the flourish of trumpets and drums, and the merry shoutings
"Huzza for Dusseldorf," "Huzza for the Burgermeister,"
" Huzza for the singers," &c From this the procession moved
to another hall, where Herr Director W. Dietze recited, (over
• the wine of honor, contained in a splendid vase, which was a
present from his royal highness Prince Frederick,) a beautiful
poetic " Greeting to visitors ;" at the close of this, when the vase
had been well emptied, and the wine of honor had been
sprinkled upon the banners of song, lots were drawn to decide
the order of the singing of each society, and text-books, order
of performance, and cards of admission, were distributed to the
members. The company then adjourned to attend to the im-
mediate wants of the physical man.
At four o'clock the societies assembled again in the court-yard
of the " Gymnasium," where they were addressed by Mr.
Achenbach, one of the most distinguished painters in the place,
(for all the artists took a deep interest in the Festival,) and
were welcomed in the name of the " Dusseldorf Society of
Artists." The processsion was now again, formed, and the per-
sons appointed having received from the place were they were
deposited for safe-keeping, the glittering prizes of gold and sil-
ver, moved in grand display towards the Geissler Gardens,
where the performances were to take place; onjpassing through
the Court Gardens three hearty cheers were given for the
Prince of Hohenzollem, (a patron of the festival,) and on their
arrival at the Grardens, the multitude of singers took possession
of the vast Music Hall, which had been erected for their accom-
modation. It was easy to see in the glowing countenances of
8*
178 DUSSELDOKF FESTIVAL.
the guests, in their general movements and gesticulations, that
the splendid arrangements, which they now beheld for the first
time, far surpassed their expectations. The hall is one hundred
and eighty feet long, seventy-six wide, and forty feet high. It
was most tastefully decorated with flags, busts, portraits, in-
scriptions, paintings, plants and flowers. Over the chief entrance
were placed the arms of the royal house of Prussia, and of his
highness the Prince of Hohenzollem-Sigmaringen. The stage
at the other end was decorated with the Prussian and Dussel-
dorf arms, and also the arms of the " Society of Men-singers,"
and the Society of painters " Malkasten." Emblems of music,
painting, poetry and sculpture, and the portraits or names of
distinguished composers, authors and artists, were suspended
from the walls. There were also arrayed, in various places,
the names of the different towns to which the societies joining
in the competition belonged, and the names of such towns as
sent deputations to the festival. The columns and rafters were
gilded, or painted in gayest colors, and the whole presented a
fairy-like appearance, and especially so in the evening when
brilliantly lighted with gas ; so that it seemed some Elysian or
Paradisian abode, rather than a portion of this sin-blighted
world.
At a little past five o'clock, when the house was filled with an
anxious and deeply-interested audience, and the singers, some-
what over sixteen hundred in number, all men, filled the stage,
leaving room only for the performing society in the* centre —
and in front, and in view of all the people, the brilliant prizes,
vases and cups, were tastefully arranged — the performance be-
gan. A flourish of trumpets and drums came first, then an
overture, and then a grand vocal and instrumental chorus of
welcome greeting by the united Dusseldorf Societies. A most
charming choral performance of power and grandeur it was in-
DUSSELDOKF FESTIVAL. 179
deed, such as to call forth loud applause from the visiting socie-
ties and from the large company of spectators. This was the
only performance of the Dusseldorf Societies, since, as a mat-
ter of etiquette, none of them engaged in the singing for prizes.
The competition-singing, harmonious, now began, and the differ-
ent societies followed in quick succession. The name of the
society about to sing was announced by a placard so disposed
as to be seen by the whole assembly, and also by the standard
or banner of the society, which always preceded the members
as they came forward on the stage, and waved encouragement
over* them while they contended for the prize. It may be re-
marked, that many of these banners were very elegant, being
made of the richest velvet or satin, with gold or silver embroi-
dery of mottos, or emblematic figures. Each society sang two
pieces, under its own director, entirely without accompaniment.
Afler six societies had sung, a recess of half an hour was pro-
claimed, when the vast multitude retired to the garden, where
greetings were given and friends welcomed, and refreshments
abundant were passed round, with " wine which maketh glad
the heart of man." It was interesting to move about among
the thronged avenues and crowded tables, see the eating and
drinking and smoking, and hear the mirthful laugh and lively
prattle of the busy people. It was fraught with instructive les-
sons, too ; but we must not moralize now, but only attempt to
describe. The half-hour having been prolonged by one half or
more, the sound of the trumpet was heard, calling again to ac-
tion, and soon the contest was resumed. Mve more societies
sang, making eleven in aU on this first day of performance, all
of which belonged to the third class. It will not be expected
that we should attempt to remark upon the singing of the dif-
ferent societies ; there was quite a wide range from tolerably
good (tliere was no performance positively bad) up to that which
^^-
180 DUSSELDORF FESTIVAL.
approached as near to perfection as is often found even in mu-
sic's chosen land. It was*"not difficult, however, to decide to
which society belonged the first prize for the performances of
this day.
At the close of the performance the crowd gradually dis-
persed, moving slowly back into the town, which was now
splendidly illuminated. The singing societies again formed in
order, and each person bearing upon a rod six or eight feet in
length a colored light, the whole moved through the principal
streets, in grand torch-light procession, brilliant and dazzling.
This being ended, the singers retired to a large hall, where
things good to the palate and quickening to the spirits had been
bountifully provided, and which were (even in Germany) sum-
marily disposed of Toasts and speeches followed, which we
cannot record here ; except that we will merely mention that
Herr Capellmeister G. Eeichardt of Berlin, in reply to one of
the toasts, gave a brief history of the origin and progress of
the men-singing festivals in Germany. He said they were com-
menced in Berlin in 1809, when the great Zelter first called
them into life. After he had finished his remarks, the whole
company sang one of Eeichardt's patriotic songs. The even-
ing's entertainment was continued until it was no longer even-
ing ; and not until the light of day had arisen ujfon these sons
of song, did they disperse to seek for a few moments' rest be-
fore the duties of the day, already began, should call them
again to contend for the prize.
Monday, 2d August. Commenced with a general breakfast.
Singers, guests, strangers, and inhabitants assembled at the
" Ananas Mountain" (a little eminence situated in a delightful
park, a short distance from the town), to take coffee, listen to
" harmonie," and engage in conversation, with pipes and "cigar-
ren." This was not, however, at " table d'hote," as is a break-
DUSSELDORF FESTIVAL. 181
fast usually served with us, but little companies of two, or four,
or ten sat down together, ordering from the card such things as
they chose. Preparations had been made by the committee of
arrangements for refreshments, which were furnished at fixed
and reduced prices. The prices of the various articles were
posted up on placards, so that every one might know the price
of what he ordered, and thus imposition be prevented.
Afler the breakfast, the singers spent the forenoon in visiting
the different picture-galleries and other collections of curiosities,
all of which were opened gratuitously for their benefit. At
one o'clock, the gardens were filled with dinner-parties ; at
three, there was a general gathering at the "Ananas moun-
tain," and from thence, at about four, the grand procession
moved to strains of joyful music, to the Hall of trial, in the
Geissler gardens. The meeting to-day was attended by the
Prince Hohenzollem, who was formally received, and welcom-
ed to the Hall by the Biirgermeister and the Committee of Ar-
rangements, amidst animating strains of military music. Af-
ter the Prince had taken his seat, the President of the Society
of Artists (painters) made the announcement that the said So-
ciety had determined to add to the splendor of the festival by
awarding a prize to that society which should, extempore^ with-
out preparaticJh and without notes, perform in chorus the best
comic song. The prize should consist of a painting, the sub-
ject of which should- be that of the song of the winning society ;
and the awarding of it should be by a committee of persons,
not musicians, but of such as should judge by the immediate
impression made at the time of hearing. Any of the societies
present, desiring to do so, might join in the competition. This
announcement was received with much applause.
The competition now commenced between those societies
which came from towns containing between three and ten thou-
182 DUSSELDOBF FESTIVAL.
sand inhabitants, and which, therefore, belonged to the second
class. There were five of these societies, each of which sang
i two songs. The performances were generally better than those
l^the third class (which sang on the first day), and more equal ;
but yet it was not difficult to decide which society in this sec-
ond class would take the first prize. After a recess of about
forty minutes, during which time there was a general retreat to
the garden, to engage in the performances there, the societies
from towns of ten thousand inhabitants or more, of which there
were four in number, constituting the first class, resumed and
completed the prize-contest-sin^ng. Three of these societies
(of the first class) sang exceedingly well ; but the " Concordia"
from Bonn was decidedly superior to all the others, and the
loud, long applause that followed their performance seemed to
be a decision by the audience in anticipation of that of the
judges, awarding to them the first prize.
At the conclusion of the singing, Herr Burgermeister Ham-
mers came forward to the front of the stage, and being sur-
rounded by the banner-bearers, each bearing the banner of his
respective society, announced to the audience, in clear and dis-
tinct tones, amidst the loud cheerings of the assembly, the flour-
ish of trumpets, and the waving of banners, the names of the
composers to whom premiums had been awarded by the com-
mittee on composition. The prizes were three in number ; for
the best competition the premium was Fifty Dollars, for the
second best Forty Dollars, and for the third Twenty-five Dol-
lars. The songs received from different parts of Germany
were one hundred and ninety-eight in number. These had all
been carefully examined, and the Committee unanimously
awarded the premiums as follows : — ^the first to the song, " Im
Weinhaus^^ by Herr Bonicke, Organist in Quedlinbourg ; the
second to the song, " Lebe Woh^'' by Dr. Immannel Faist, Di-
DUSSELDORF FESTIVAL. 183
rector of the " Society of classical music," Auttgart ; and the
third to the song, " Der Kdefer und die Blume^"^ by W. H. Vkit
of Prague. These announcements were successively received
with the loud applause of trumpets, drums, and voices ; while
banners^ waved and beauty smiled at art's success.
After a few minutes' recess, the competition in comic song
followed. Eight societies had entered their names as candi-
dates, and sang successively for the prize picture. Some of
them produced roars of laughter, and every one of them was
received with more or less merriment and glee. One song
(they were all part-songs) was truly good and exceedingly well
done, but the others were commonplace, or even low and frivo-
lous ; so much so, as to appear quite at variance with the idea
that these festivals are designed for improvement in musical
taste. It was somewhat sad too, to observe that ^hose songs
which seemed to bring down humanity the nearest to mere ani-
mal being were the most admired, so that one in which imita-
tions of the bleating of sheep and the cries of the domestic ani-
mals were introduced, called forth the loudest laugh and the
most violent clapping of hands. The Committee retired for a
few moments, and justly awarded the prize to the " Maenner-
Gesang-Verein" of Neuss. The evening's festivities were con-
cluded (professedly) by a display of fire-works on the " Ananas
mountain ;" but the songs and hurrahs continued to be heard
through the night, and rising early the next morning, between
four and five o'clock, we saw from our window a part of the
finale of the second day.
Third day, Tuesday. The breakfast with " Harmonie " was
as on the day previous. At nine o'clock there was a* rehearsal
for a grand concert which was to be given in the evening. To
this rehearsal tickets were sold at a small price, and the amount
thus collected was to be given to the poor. The house was
184 DUSSELDORF FESTIVAL.
filled, and quite a considerable sum must have been received.
The rehearsal having closed, the dinner hour, and the hours de-
voted to smoking, drinking, and the like — ^in the garden — ^having
passed away, the company began to flock in at about four
o'clock to attend the concert. At a little before five, when the
building was well filled, one of the most severe showers of rain
and hail arose that we ever witnessed. The rain poured down
in tofrents, the rattling hail beat upon the apparently frail build-
ing, in which thousands were assembled, the lightning flashed
and blazed in one almost continuous stream of fire, and the
deep thunder roared, loud and terrific. To add, if possible, to
the sublime chorus of nature, at the moment when the storm
was raging most violently, the powerful voices of two thousand
men were heard in the loud " Hurrah !" " Hurrah !" " Hur-
rah !" The rain began to find its way through the roof, um-
brellas were spread, cloaks and shawls were wrapped around
the elegantly-dressed but trembling ladies, the chill cold quickly
succeeded heat, while the rattling of glass broken by hail-stones,
seemed to indicate the crash of the whole building in one com-
mon ruin. But all was safe ; and quickly the rain ceased, the
winds were hushed, and amidst the retiring roll of the more
distant thunder, violins, clarionets, and the various orchestral
instruments, were heard, seeming, like the rainbow of promise,
to proclaim that Music's welcome sun should soon shine brightly
upon the waiting multitude. •
A little before six o'clock the concert, having been delayed
nearly an hour, began. There was an orchestra of about fifly
instruments, and the programme was as follows :
FIRST PART.
1 — OvERTUBE (C dur. Op. 124) Beethoven.
2 — Recitation. Poetry in honor of the King of Prussia.
Read by Herr Herchenbach,
>■
DUSSELDORF FESTIVAL. 185
8 — Psalm fur Mannerchor mit Solo Q. Schanabel.
4 — Scene and Aeie from "Faust." Sung by FrL Sophie
Schloss Spohr.
6 — CoNOEBTO (E flat major) for Piano Forte with Orchestra.
Performed hy Madame Clara Schumann Beethoven.
6-^" Mee&estille/' " Mannerchor " with Orchestra. Composed
by. Capellmeister Mfcher.
SECOND PART.
7 — OvERTUBB to Shakspeare's "Julius Caesar." R. Schumann,
8 — AaiE from " Fidelio." Sung by Frl. Mathilde Hartmann. . .Beethoven.
9 — Variations on a theme from "Preciosa," with orchestra
accompaniment. Performed by Mad'le Wieck and
Mad. Clara Schumann Weber.
10 — " Bacohuschor ** for Mannerchor, with orchestra, from
" Antigone," by Mendehaohfi.
11—" Saltarkllo," ) 8. Heller.
" NonuRNO," V . .For the. F. Chopin.
" Lied Ohne Worte," ) Piano Forte Mendelssohn.
Performed by Mad. Clara Schumann.
12 — ^Finale. Full Chorus, Mannerchor, with orchestra. By. .Juliw Rietz.
The performance was a very fine one, but the building was
too large, and the people seenxed to be too much fatigued to
enjoy it fully. At the close of the concert, the most exciting
scene perhaps of the whole four days was witnessed, namely,
the announcement of the successful competitors in song, and
the presentation of the prizes.
A half-circle was formed around the prize committee, who
had taken seats around the stage just in the rear of the table on
which were placed the shining vessels of gold and silver.
Amidst the loudest shouts the Burgermeister Hammers as-
cended the tribune to amiounce the decision of the judges. The
following is the result :
186 DUSSELDORF FESTIVAL.
FIRST DAY'S SINGING— THIRD CLASS— ELEVEN SOCIETIES.
First prize to the " Gesangverein " of Lobberich.
Second prize to the " MaDnergesangvereio," ** Apollo," of Eiueraworth.
Third prize to the " Leidertafel " of Dulken.
At the recommendation of the Committee three " hurras "
were given for the " Liederkranz " of B. Gladbach.
SECOND DAY'S SINGING— SECOND CLASS— FIVE SOCIETIES.
First prize to the " Mannergesangverein " of Neuss.
Second prize to the " Liedertafel " of M. Gladbach.
And three " Hurras " for " Liedertafel " of Ersen.
FIRST CLASS— FOUR SOCIETIES.
First prize, being the prize of honor presented by the town of Diissel-
dort to the " Mannergesangverein " " Concordia " of Bonn.
Second prize, to the "Mannergesangverein" "Polyhymnia" of Cologne.
And three " hurras " for the '• Gesangverein," " Orpheus," of Elberfeld.
Each of these announcements was received with the waving
of banners, the blast of trumpets, the rolling of drums, and the
loud cheering of the multitude, which continued while the Mayor
took from the table the prize, as it was announced, and handed
it to the President of the Society to which it had been awarded.
As soon as the cheering would permit, the President of the
Bonn "Concordia" jumped upon the tribune and called for
three times " Hurrah, and long life and prosperity to the friends
in Dusseldorf," to which a most enthusiastic response was given.
These ceremonies were all over by about ten o'clock ; then fol-
lowed a grand festival ball, and this closed the third day's per-
formances, somewhat before the rising sun of Wednesday marked
the commencement of the fourth and last day of the meeting.
The fore-part of the day (Wednesday) was spent in various
congratulations, social gatherings, &c., which cannot easily be
described. All was excitement, all was joy ; and music, instru-
DUSSELDORF FESTIVAL. 187
mental and vocal, and shoutings and " hurras " were heard all
around. Some of the societies marched through the streets,
preceded by their banner, and perhaps by the prize they had
won, to the music of their own well-tuned and harmonious voices.
Others rode inside and outside of omnibuses, with like demon-
strations of gladness. The gardens were filled in the afternoon,
and wine flowed freely. At five o'clock was a grand festival
of artists, entitled the " Power of Song." It consisted in a suc-
cession of very splendid " tableaux vivants " — accompanied by
appropriate music and recitation. A full orchestra, and a large
mixed choir of perhaps one hundred and twenty voices, with
solo-singers, constituted the musical department for the occasion.
The best speakers were employed for the declamation ; and the
living pictures were under the immediate direction of a com-
mittee of the painters of Dusseldorf The hour arrived, but
vain was the attempt to commence. Bacchus had been there,
and had obtained such a sway over the sons of Apollo, that
music's voice could not be heard. The orchestra did indeed
play, or appeared to play an overture, but not even the loudest
passages could be heard, for the vocal shoutings quite over-
powered trumpets, trombones, and drums. The speakers, in
appropriate costume, came on the stage, but their voices were
lost in loud shoutings, and they quickly gave up the contest and
retreated. Various attempts were made for nearly an hour to
command silence, and obtain a hearing, but in vain. The roar
of voices, and the loud "Hurrah," overpowered all the efforts
of the Mayor, the artists, and the orchestra. Even the pres-
ence of the Prince, the patron of the Festival, could not restrain
the tremendous cheerings. At length a lady^ a beautifully-
dressed lady^ appeared on the stage — and as the orchestra com-
menced, her arm was gently extended, and the song began.
Though faintly heard at first, she gradually prevailed, until, at
188 DUSSELDORP FESTIVAL.
last, music gained the victory ; the power of the god of wine
was exhausted ; reason resumed her sway, and she hesitated
not quickly to restore music and the arts to the throne of uni-
versal dominion and admiration.
The "Tableaux Vivants" were now exhibited. Each tab-
leaux was exhibited three times ; they were all magnificently
prepared, and the whole exhibition was exceedingly interesting
and beautiful. The order was as follows :
1 — " Orpheus liberates Eurydice from the under worldP After P. Corne-
liu8. Accompanied by extracts from the text and the music of GIuok*s
opera.
2 — " The Singer's Curse!* After M. Tolz, Accompanied by music from
Robert Schumann's third Symphonic.
8 — " A Landscape" A group of young men accompany a comrade on bis
way out of town, and they all sing " Must I leave thee, Native Town."
His beloved watches from a bower, and after all have disappeared sings
a sad song of parting.
4 — " Ave Maria." After Rubens. Accompanied by &" Salve Regina^
composed by M. Hauptmann.
6__« Grand Battle Piece,** « Frederick the Great at the Battle of Prague."
A most splendid tableaux with many figures. Accompanied by a mili-
tary movement by the orchestra.
6 — " Landscape. Review** The muses appear on an eminence ; on one
side in the foreground is a group of Orpheus ; next, the young and old
singers from the second picture ; then, the young man, and his beloved
from the third, the monks from the fourth, and Frederick from the fifth.
The muses, Thalia, Euterpe, and Erato, advance to the front of the
stage, bearing crowns of evergreen in their hands. Euterpe sings a
verse of greeting to the assembled singers, and the curtain falls.
The fourth and last day's exerbises closed by a grand festive
ball, of singers, visitors, and citizens.
t
DUSSELDORP FESTIVAL. 189
^ NAMIS OF THE SOCIETIES, IN THE ORDER IN WHICH THET SANO, AMD ALSO A
LIST OF ALL THE SONGS THAT WERE SUNO.
THIRD CLASS— FIRST DAT.
*
1 — ^Maenneroesanoyerein, Kaiaerswerth.
"Was wirlieben." O. F. Adam.
•' Still and schauerlich.'^ , .
2 — ^Maenneroesangverein, Yolmerswerth.
" Das Kirchlein." V, B. Becker,
" SaDgermarsch." F. Abt.
8 — Maennergesangverein, Lobberick.
"Mein." ffdrtel.
" Wer ist unser Mann." C, ZoUner.
4 — Maennergksangyerein, Ratingen.
" Die Riesengletscher." Kreutzer.
"Was ist das Beste."
6 — Maennerg esangverein, Wupperhofen.
"Frohlockt und jauchet". * Roeder.
'* Patriotisclies Soldatenleid/' Kueken,
6 — Apollo, Kaiserswertb.
" Am Neckar, am Rhein.** Kueken.
" Scblummerst du schon." • Wilhelm,
7 — LiEDERKRANz, B— GUdbaeb.
" Woner nur das linde Sausebx." Kreutzer,
« Rund ist alles auf der Welt." Kueken,
8 — LiEDERTAFEL, Qraefratb.
"Mein." Hartel
" Der Jager." Kueken,
9 — ^LiEDERTAFEL, Sonnborn.
" Am Neckar, am Rbein." Kueken,
** Lcib nnd Wein." Mendelssohn,
10 — ^Harmonie, DultgenstbaL
" AuB der Jugendzeit." Stoppler^
" Das Regenwetter." Reiesiger,
11 — LiEDERTAFEL, DulkeiL
" Die jungen Miisikanten." Kueken.
" Die Gmist des Augenblickes."
190 DUSSELDORF FESTIVAL.
SECOND CLASS— SECOND DAY.
1 — ^LiSDESTAFEL, Essen.
'* JuDglings Abechied.'* — ^—
" Der Mullerbursche." Zollner.
2 — LiEDERTAFEL, Vierscn. '-
" Dea Schonen.'* Neithardt
" Am Neckar, am Rhein." Kucken,
8 — LiEDERTAFEL, M — Gladbach.
" Gebet von See.'* Zollner.
« Nachtliche." F. AbL
4 — Concordia, Dortmund.
Chor mid quartet aus der " Weissen Dame.** Boieldieu,
" Die Jungen Musikanten.** Kucken,
6 — ^Masnnerobsangyersin, Neuss.
" Fruhlingslandschaf L'* Otto.
" Das Lied vom Rhein.'* - ReUhardL
FIRST CLASS— SECOND DAY.
1 — Concordia, Bonn.
« TrallerUedchen.*' R Riez.
" AbechiedstafeL**. .MendeUtohii,
2 — Orfheus, Elberfeld
"Mein.'* HarUl.
" Am Neckar, am Rhein.** Kucken,
8 — Buerger-und Handwereer-Gesangverein, Cologne.
** Frifich ein Hoch.'* * Herx,
** Gegriisst seid All Ihr Sanger-Bruder.** Herx.
4 — Polyhymnia, Cologne.
' * Der Wald*' Haser.
** Was uns eint als deutsche Briider.** Mendelssohn,
There were deputations of from one to upwards of fifty per-
sons each, from twenty-nine other towns ; hence, the deputed
members numbered nearly as many persons as belonged to the
Societies that entered into competition for the prizes.
i
DUSSEIiDOEF FESTIVAL. 191
SZHIBITIONS OBATUITOU8LT OPENED TO THE SINGERS DURING THE FOUB DATS.
1 — ^The Provincial Industrial Exhibition.
2 — The Exhibition of the Society of Art of Kheinlaod and Westphalen.
.3 — ^The Exhibition of the Artists' Mutual Aid Society.
4 — ^The Permanent Art Exhibition of Dusseldorf.
5 — The Exhibition of three large paintings, by Herr Shadow, Director of
the Academy of Fine Arts, Dusseldorf, viz. : Heaven, Purgatort, and
Hell. •
During the performance on the first day, many of the mem-
bers of the societies wore their hats on the stage, directly in
front of the audience, and some were seen standing gazing about
not only with hats on, but with cigars in their mouths and ac-
tually smoking. This positively took place (we repeat it, for
it will hardly be credited) during the public performance at the
Dusseldorf festival. The second day a notice was posted up to
the following effect : " Smoking will not be allowed in the hall
during the public performances." An advance in civilization,
surely ! Hats were worn on succeeding days, but the smoking
disappeared.
PRICES OF REFRESHMENTS
One plate of soup * . . ..6 cents.
One beef-steak, or other portion of meat 12 cents.
One buttered-bread, with cheese, or meat 12i cents.
One cup of coffee 6 cents.
One ice-cream 10 cents.
One glass lemonade, or grog, with ice 12i cents.
Wine (a leading article) varied in price from 25 to 60 cents per bottle.
The price of beer was so well understood as not to require placarding.
There were other articles of refreshments offered, but the prices were
not published.
The performance of the Concordia of Bonn was decidedly
the best of the whole ; this society was represented \yy fifty-two
of its members ; many of them are students in the University ;
192 DUSSELDOBF FESTIVAL.
and the appearance of the society seemed to indicate a general
cultivation to which all could not lay claim. The songs chosen
by the Concordia were both very excellent and popular, a cir-
cumstance of much importance to their success. Very near
to this, in point of merit, was the Polyhymnia of Cologne. It
may be mentioned here that there is a society in Cologne which
is very celebratW for the perfection of its performances. This
society has taken the first prize for several years, but voluntari-
ly gave way this year, or retired from the contest, so that oth-
ers might have the opportunity of winning. One of the poor-
est societies, and yet one of the largest, was also from Cologne,
the Burger 'Und Handwerker gesangverein^ What rendered their
performance the less pleasing, though in itself poor, was the
fact, that two inferior compositions, both by the director of the
society (W. Herx), were sung.
The performance of many of the societies was much injured
by those who attempted to sing solo parts, but who were not
competent to do the work. Out of tune, and sinking the pitch,
were faults common to quite a number of the solo singers.
The chorus was, in the poorest instances, toUrahle ; but it was
not so with the solo singers, who were not, in all cases, better
than we have heard heretofore, under circumstances where little
was expected, and nothing realized. It is comparatively easy
to have a chorus well done, but there are very few singers who
have carried vocal cultivation so far as to be able to sing a solo
part, or a part in a trio or quartet, well enough to save the
hearer from absolute pain.
A " sperrsitz" (reserved seat) to all the four days' perform-
ances, cost three dollars and a half; other tickets cost much
less. Tickets for a single performance were also sold.
The whole amount received for tickets could not have been
less than several thousand dollars.
DUSSELDOEP FESTIVAL. 198
From what we saw of comic singing, it seemed to be very
evident that the Germans, or, at least, those assembled on this
occasion, with all their musical culture, are more pleased with
a really silly or foolish song, which includes a little monkey-
like acting or gesticulation, than with a " Lied ohne Worte" by
Mendelssohn, or a quartet or a symphonic by Beethoven. Good
music is undoubtedly appreciated by a greater part, oomparar
tively, of the people here, than in America ; but if one may
judge from appearances at this festival, the majority still prefer
a good laugh to good music, and mere comic acting to classic
song. We spoke to a German gentleman sitting near, and ex-
pressed our disappointment that such rapturous applause should
be given to music so unworthy. " Ah !" said he, " that is Ger-
man way."
It should be understood, especially by those persons who la-
bor to promote church-singing with us, that these festivals have
nothing whatever to do with this subject. Indeed, the idea of
mitsic seems to be disunited, in many minds, from any thoughts
of public worship. The singing of psalms or hynms by the
people on a religious occasion, is not regarded as music, but as
a devotional exercise, as &r removed from a musical perform-
ance, at least, as is the intonation of the Cathedral service of
the English Church.
'^ In which church shall we hear the best music 1" is an in-
quiry we have made, when in a German town, on the Sabbath ;
and to which we have received the reply:
" Oh, there is no music in any of the churches, except per-
haps once or twice a year, on the occasion of some great fes-
tival."
" But, don't the people sing ?"
" Yes, they sing the hymns, but there is no music."
Thus the distinction is practically made (as it ought to be)
9
194 DUSSELDORF FESTIVAL.
between the people's psalm-^inging or worship and musical per-
formance. The festivals here are musical performances, and
have nothing to do with the people's songs of worship.
At one of the churches we attended on the Sunday morning
of the commencement of the festival, we received a tract, con-
taining the protest of the minister of the parish. It is princi-
pally based upon the &ct that the festival had its commence-
ment upon the Sabbath. The following is a translation of a
part of it :
" The opening of a large worldly festival on the Lord's day, like that
in contemplation in our town, must awaken a deep sadness in the heart
of every Christian man. For such a thing stands in direct opposition
to the positive command of God. * Remember the Sabbath-day to keep
it holy,' is understood by the Christian Church in a sense that, the Lord's
day is separate from other days, and that it should be honored and rev-
ered by public and private service to God, and also by resting from
all labors and worldly pleasures. No one can contend that the open-
ing of a festival, which is to be continued several days, must of neces-
sity take place on Sunday. It could just as well have commenced on
a week-day. A 'competition of BoA^ is just as little to be reckoned
among the works of love and mc^rdy, as any other worldly festival The
evideut and doubtless fact that the whole town will participate in these
worldly pleasures, in open disobedience to the command of the Heav-
enly Father, must make sad the heart of every godly man.
" Far from giving approbation to a joy which thus manifests itself in
illuminations, wreaths, garlands, or flags, on this holy day, we have
felt it to be our duty to protest, evfen though our voice have little or
no effect, against this shameful and' sinful breaking of the sacred Sab-
bath."
Various other things more or less c6nnected with the festival
might be said, but we fear we may have already too much ex-
tended our report, and therefore forbear.
i
/-^
BIBMINGHAM. 196
LETTER XLII.
.^tgham Festiyal— Powers of the Miuical World— Tbe Market Place— Service at
Rev. Mr. James' Church— Sermon— Choir— Organ— Tunes— Church of St. Martin's—
New kind of Chanting— Bread for the Poor— Wesleyan Chapel— Rehearsal— Money
Matters.
Birmingham, September 3d, 185S.
Although we had decided, even before we left home, to at-
tend the musical meetings in this place, yet, as the time drew
near, we found ourselves so pleasantly employed in two simul-
taneous courses of lectures to music and school teachers,* that
we had well nigh come to the conclusion to remain in London,
relinquish the long anticipated performances at the Grand Bir-
mingham Festival, and work on. But, a number of the Musical
World came to hand, and it was no longer optional with us to
come or stay away ; for, the editor (without our permission)
had pledged us to his readers for a report. We say without
permission, but yet we are certainly ready to acknowledge that
he had a kind of professional, social, or moral right to do as he
pleased with us, in this matter, arising out of a relationship that
has long existed, — which commenced, indeed, when he, a lad
wearing a jacket and a cap, was brought to us, with a beloved
sister — ^now no more — ^by an affectionate parent, to commence
his musical education in lessons of Do, Re, Mi. Little did we
think at that time, that in about a score of years he was to oc>
cupy the editorial chair of an American Musical paper ! No
mandate is so quickly or so cheerfully obeyed, as that which
proceeds from love and good will ; the way was now plain ; —
classes must be adjourned, lectures and other engagements post-
poned, and to Birmingham we must go.
It was Saturday night. The ride on the hard boards of the
* One in connection with the Home and Colonial Normal School, and
the other to Teachers of the Birkbeck Schools.
!>
^
196 THE PEOPLE.
second dass, had been tedious, for we had been detained nearl j
an hour by the circumstance of a luggage train ahead of us
running off the line. As soon as we could get a little refresh-
ment, we went out into the crowded streets. On Saturday (as
we understand) the manual laborers, or operatives, are released
from their weary toil at an earlier hour than usual, and they
then crowd the streets in search of fresh air, and to see or hear,
or buy such things as they need for the coming day. The
streets, and especially those in the vicinity of the market, were
literally jammed full of people of all ages, from the child at
the breast, to worn-out, feeble and tottering old age. It was
difficult for one to press along, through the dense mass of human
beings who thronged the ways. How different the appearance,
from that of the multitude at DusseldorfJ where we were a few
weeks since, on a similar errand to that which brought us here.
The circumstances, indeed, were very different ; Ihere^ was the
commencement of a gay holiday-time for the people, and men,
and 'women, and children, with clean &ces, combed hair, shining
shoes and " go-to-meeting " clothes, were thick on every side.
They were more like the people of our own happy land ; there
being scarcely any evidence of deep poverty and d^radation.
It was otherwise here, for little children and old men and
women were seen clothed in filthy rags, and it was enough to
put to the test the olfactory nerves of the stoutest man to crowd
his way through the motley groups. The people, too, in Du&-
seldorfj were interested in the festival, — ^indeed it was the ^o-
pW% festival, and if there were some who could not hear, all
took delight in seeing. But Aere, the common people are en-
tirely cut off from the music ; it is intended only for the rich,
and only they can go to the expense of purchasing admittance.
There, the people make their own music ; here, the greatest
performers, vocal and instrumental, the world affords, are
i
MABKET-PLAOE. 197
brought t(^ether, at an enormous expense, to give an exhibition
of the triumph of art.
We followed the multitude into the market-place, and it was
an alleviation to the circumstance of their apparent poverty, to
see for how little money they could buy bacon, shoes, cheese,
hats, potatoes, trowsers, sausages, cabbages, flutes, candles and
other like things necessary and convenient. Very cheap are
such commodities on a Saturday night in and about the market
houses of the large manu&cturing towns in England. There
was a great plenty, too, of good fruit, — as pears, plums, and ap-
ples. A pint of ripe sweet plums could be had for one or two
pence. Many of them were eaten upon the spot, and every
now and then, one and another treading on the slippery skins,
would slide and Ml, not upon the floor, for there was not room
enough for that, but against others by whom he was surrounded.
The only music we heard here was the busy hum of voices, the
cries of the sellers, ^^ this is the cheapest stall in the market,"
" a pint for a penny," the whistling of boys, the crying of chil-
dren, and now and then the distressed bowlings of a poor su^
fering member of the canine society, who had been cruelly
trodden under foot by some heedless passenger. We stopped
at a Bible-stall and bought a very excellent copy of the New
Testament, well bound, for four pence. Thanks to that noble
institution, " the British and Foreign Bible Society," for such
a provision as this, in the market.
We lefl; the market-place and the crowd at half^past nine, and
made our way to our lodgings ; thinking of our happy country,
and the better condition of the laboring poor there, than even in
the best-regulated manufacturing towns here.
Sunday came, and we attended, first, the church of Rev. Mr.
James. How could we do otherwise? What American,
spending the Sabbath in Birmingham, would Mi to hear this
BBY. J. A. JAMES. 198
distinguished man, since there is no better preacher anywhere
to be found, and since there is no living English divine so well
known, by his writings, across the Atlantic ? We well remem-
ber his influence in the early history of Sabbath schools in the
United States ; for, when they were yet in their infancy, his
" Sunday School Teachers' Guide " did more to mould them and
give them a right direction, than any other work ; and during
the score of years that have since passed away, many of his
books, of great practical worth, have been republished and
widely circulated. Mr. James preached from the text, " If any
man will come after me, let him deny himself, and take up his
cross and follow me." I wish I could give a detailed account
of his sermon, for I am persuaded it would be a report as inter-
esting to many as any that can be made of the progress of
song, and it would do musical as well as other readers good to
contemplate the subject in the light he presented it. Suffice it
to say, he represented it very clearly as something to do ; he
made it out also to be an extensive thing, reaching the whole
man, entering into his whole life ; moreover, he gave to it great
power sufficient for any emergency, and leading, if necessary,
even to martyrdom. Any self-denial not reaching thus far, is
not that which the text calls for. But I must not enlarge. Mr.
James' delivery is not very good, and he often allows his
voice to sink so low in power as not to be heard in the latter
part of a sentence. He is, as to his manner, a son of consolar
tion, and the kind, the gentle and tender prevail. Indeed, his
whole manner, as well as the spirit which he manifests, seems
to say, " thy gentleness hath made me great." There are little
things about his delivery that should not, we think, be imitated
by young men ; for example, the frequent abbreviations of can't,
won't, shan't, dec. ; however they may be tolerated in oonver-
ORGAN ACXJOMPANYING. 199
sation or familiar address, they do not become serious discourse,
and pulpit dignity.
But we must not forget the part of the service that comes
more immediately within our province. There is an organ in
Mr. James' church, and also a choir ; two things indispensable
to the best results in church music. The organ was well
played, yet not always with sufficient strength to support and
guide the congregation. It is a great fault for the organist in
Congregational singing, to play so soft ifor the sake of some
fancied musical expression, as to leave the people unsustained,
and even to ground in shoal water. The organ should ever
maintain a fullness and depth sufficient to keep the voice from
sinking, or to bear up the vocal song. In choir singing (that is
when the congr^ation do not join), the case is different ; ex-
pression should now receive attention, and the organ which in
its mighty power held up, and bore onward, the chorus of the
whole people, in a choir ^performance, becomes a mere accom-
paniment, oflen ^' unheard, unseen." We have known a congre-
gation suddenly checked in their song, and thrown all into pie
— ^as the printers say — by some sudden freak of an inexpe-
rienced organist, who, because he saw the word peajce ahead,
supposed he must instantly pass from forte to piano. This
same fault was observable in the organ-playing here. There
was also a painful pause at the end of each stanza, in which all
rhythmic feeling was lost, and it became necessary to begin anew
with the divisions of time at the beginning of every stanza.
Surely there can be no reason for a full (apparently final) pause
at the end of a stanza, any more than at the end of a line ; but
if it be desirable for the voices to stop for a moment, then let
the organ fill up the space by a few chords of transition (where
interludes are not desired), keep up the rhythmic form or struc-
ture, and thus prevent 4 mental collision, or an apparent final
200 CHURCH MUSIC.
dose at the end of each stanza. An organ voluntary at the
commencement of the service was in good style, appropriate
and religious ; and we think it was in equally good taste that
there was no voluntary at the close of worship. The principal
effect of a closing voluntary is to endanger the vocal organs of
the people, who are often obliged to speak louder to their
friends and neighbors, in order to be heard, than is consistent
with prudence and safety. The closing voluntary instead of
covering or shading the voices of the retiring congregation, is
not unfrequently a mere signal, which, when reduced to lan-
guage, says " Now talk as loud as you can."
The choir in Mr. James' church <^d not seem to be much in
advance of the people in the manner of their performance; they
tried to help the (yrgan to lead^ but no choir piece, either tune or
anthem, was attempted by them. There was no chanting, as
there is in many of the London churches, and metrical psalmo-
dy was the only form of song. Extempore parts were sung
near to me, and especially by a gentleman who knew enough
of music to sing always a third below the treble ; this knowl-
edge he took care to bring into practical use, and so, of course,
was often producing fifths as much at variance with music's
laws as are nouns in the plural in connection with verbs in the
singular number with the re<|uirements of grammar. The first
tune was St. Ann's, with the good old-fashioned cadence on the
mediant at the end of the third line — grand and effective;
the second was St, Paul's ; the third we did not know, but
while it was a. pretty^ " aWs welF kind of tune, it was unfit for
Congregational singing, and an affected, Minting away, or " oh
dear" result was the consequence. As in other places in Eng-
land, so here, the hymn is just named, the organist then gives
out the tune on his instrument, playing it through, then follows
the reading of the hymn, after which it is sung.
ST. MAETmS. 201
At half past 3 o'clock we attended the church of St. Martin's
(Episcopal). The congregation was small, and was (as we sup-
posed from the application of almost every one who came in to
the Beadleship for a seat) composed mostly of strangers. The
service was dull and monotonous, no one appearing to manifest
any other interest than a desire to get through. The chanting,
however, was an exception, and was of a character somewhat
new. It was almost exclusively instrumental, being performed
on the organ. Of course, we could find no fault with the articu-
lation of words, or the rapidity of utterance, since the pipes ap-
peared to do their best. But voices could not be heard in this
part of the service with the exception of " Gloria Patri," in
which there was a feeble attempt at vocal effect. It may be
well for congregations who do not wish to be at the trouble of
opening their mouths and speaking forth God's praises in the
" Venite," " Jubilate Deo," and other canticles, to confide the
matter wholly to a &,ithful instrument ; for, under a master's
hand, it is always sure.
We were pleased with one thing which we saw in this church :
as we entered, we observed near the door a stall capable of
holding twenty or thirty loaves, filled with nice-looking bread.
Over it was painted on a sign : " Mr. John Billingsley's gift,
1629." I ascertained, on inquiry, that the good man had left a
fund by which a weekly supply of bread for the poor was pro-
vided. I asked if there was applicants enough to receive the
bread. " Enough, yes, and forty times as many more," was
the answer. " The works of the righteous shall be held in
everlasting remembrance."
In the evening, at half past six o'clock, we attended a relig-
ious service in the " Cherry street Chapel" ( Wesleyan), where
a sermon was preached and a collection taken m aid of Sunday
schools. The singing was mostly by a chorus of about two
9*
202 CHILDREN»S SINQINQ.
hundred children, who sang in two parts, girls singing first,
boys second. They sang in tolerably good time and tune, but
in no better taste than we have heard some of the children's
choruses in America. There was a kind of nasal, or feline
quality of tone, which was anything but pleasant. One would
think that here, as in America, the great thing sought for is to
get as many children together as possible, make them exert
their tender vocal organs to the utmost, strive for a loud noise,
and perhaps the execution of something that seems very diffi-
cult, while all that relates to taste, or to a truthful musical edu-
cation, is neglected. It is immensely important that a child
should be taught by one who has, at least, some practical phy-
siological knowledge of the voice, and who has also a cultivated
taste ; otherwise the poor child suffers severely, forming habits
which probably will follow him to his sorrow through all after
life. The singing, by children, of music unfit for them, or un-
adapted to their capacities, is a very common feult ; on the pre-
sent occasion a glee by Callcott was attempted, to sacred words,
which had better been omitted ; and at the close of the services,
after the benediction, the poor children, not knowing what they
were about, but led on by those who ought to have known bet-
ter, made a bold attack on Handel's Hallelujah. It hardly need
be added that the performance came as near to the ridiculous
as need be ; there was nothing good about it except the inten-
tions of the children; they were innocent through ignorance;
but not so with the teachers, for ignorance cannot, in a teacher,
excuse such error in judgment and carelessness in execution.
It is no unimportant lesson for a teacher or conductor of
music to learn what music is appropriate to the occasion, what
comes fairly within the capacities of the performers and the under-
standing of the hearers, what is suitable for children, — what for
congregations, — what for choirs without orchestra, and for choirs
TICKET s|:lling. 203
with orchestra, dc. And how sh^U one learn these things and
a thousand others 1 Answer. By the study of music under the
direction of those who are competent to teach. How long will
it take and what will it cost ? Answer. Go to the members
of other professions and ask them these questions, in relation to
their own preparatory studies, multiply their answer by two,
and the product will not deceive you.
Monday came. It was a great day of preparation. The
streets were full of carriages, and strangers were constantly ar-
riving. We went early to procure our tickets, but found a
crowd already in the office. The office is a wooden building,
erected on a vacant lot, for the express purpose of ticket-selling
during the Festival. Some fifteen or eighteen clerks were em-
ployed in attending to the calls of purchasers. There was one
clerk for selling reserved seats for each morning, and one also
for each evening performance ; two clerks for unreserved seats,
one for morning and one for eyening tickets ; two for the sale
of programmes, or books of words ; besides which, several
other officers were employed, giving the whole an air of busi-
ness almost equal to the stock exchange, Paris. It was intei^
esting to see the rush for tickets, a great part of which had been
already taken by previous application. In order to prevent a
preference being given to any one person, the names of all ap-
plicants are registered ; the books are closed on a certain day,
say three or four days before the performances begin, and then
the places are disposed of, not in the order of applicants, but
by lot. But here I must close.
204 BIRMINGHAM FESTIVAL.
, LETTER XLIII.
The Birmingham Feitiyal— Continaed.
September, 185-3.
Thb Birmingham Musical Festival for 1852 is past, and its
success has been most triumphant. The highest anticipations
of its warmest friends have been fully realized, and they are
satisfied both with the musical and pecuniary results. This
Festival is triennial. We well remember the gratification an
attendance in 1837 afforded us. At that time Mendelssohn's
St Paul was performed under the direction of the talented com-
poser himself. He also gave, during an evening performance,
an example of his wonderful power in extemporaneous organ-
playing, which we can never forget. At the same Festival, the
Chevalier Neukomm brought out an oratorio, The Ascension,
The Birmingham Festival has existed for almost a century.
It had but a small beginning, but has been gradually increasing
until now its occurrence may be said to move the whole musi-
cal kingdom. Its profits are devoted to the support of the Bir
mingham Hospital ; and, notwithstanding the great expenses, it
never fails to pay over a large sum to the charity. It brings
together the very best musical talent that can be found, and the
works of the greatest masters are performed under circum-
stances more advantageous than are elsewhere afforded in the
world. In looking over the list of performers, we find the
names of Catalina, Malibran, Grisi, Sontag, Jenny Lind, Lab-
lache, Tamburini, Mario, Staudigl, and all the first vocalists
that have lived within the last fifty years. Several oratorios
have been written expressly for this occasion, the greatest of
which is, undoubtedly, Elijah, This masterly production of
Mendelssohn was first produced here in 1846. '^ I feel," said
BIRMINGHAM J'ESTIVAL.
205
Mendelssohn, " much more interest in this work than for my
others, and I only wish it may last so with me." It was his
last great work, and it will carry down the name of the gifted
author to many succeeding generations. It is remarkable that,
in making alterations in this oratorio after the first copy had
been given out, Mendelssohn gave directions to omit the very
popular song " rest in the Lord^'^ To this Mr. Bartholomew,
the English translator, so strongly objected that it was allowed
to remain. After the first performance of the oratorio in 1846,
Mendelssohn made many alterations, and yet more when the
German copy was finally published at Leipzig.
Great preparations were made for the Festival this year, and
it is believed that a better band and chorus were brought to-
gether than on any previous occasion. The instrumental de-
partment was as follows :
First Violins 26
Second Violins. ... 26
Tenors 18
Violoncellos 18
Double Basses. ... 18
Flutes 4
Oboes 4
Clarionets 4
Bassoons... « 4
Trumpets 4
Horns 4
Trombones. 3
Ophideide 1
Serpents 2
Double Drum,
Side Drum,
Triangle,
Bass Drum.
In all, one hundred and forty instruments ; to which must be
added the great organ, one of the most powerful in the world.
The vocal chorus consisted of eighty to ninety voices on each
part, as soprano, alto, tenor, and bass ; in all, about three hun-
dred and thirty or forty voices. It must be understood that
these were all real (not merely nominal) singers, capable of
sustaining their respective parts. The parts were well bal-
anced, and the ch(yru8 blending was admirable, no individual
voices being heard. The alto consisted of both female and
male voices ; yet the men's voices were kept in good subjection,
206 BIRMINGHAM FESTIVAL.
and only once or twice during the four days' performance, did
they appear severe or hard. The solo singers were the best
that could be obtained in Europe ; they did not include some
of the best artists, because they could not be obtained ; for
example, great efibrts were made to procure the assistance of
Henriette Sontag, but the Americans had drawn h^r away, and
no inducement that was held out, could prevail upon her to re-
main. Madame Goldschmidt was also applied to in vain ; nor
could Lablache or Mario be obtained. But still, such an
amount of vocal talent as was procured is not often brought
together, as will appear by the following catalogue of names,
all of whom were present :
Madame Yiaedot Garcia,
Madame Castellan,
Miss Dolby,
Madame Olasa Novello,
Mr. LocKBY,
Mr. T. Williams,
Mr. Sims Reeves,
Mdlle. Anna Zerr,
Mdlle. Bertrandi,
Miss M. WiLLLAMB,
SigQor Tambelik,
Herr Formes,
Mr. Weiss,
SigDOr POLININI,
Signer Belletti.
Besides the above, there were solo instrumentalists as fol-
lows : —
Violin, M. Sainton,
Violoncello, Sig. Piatti,
Organist, Mr. Stimpson,
Double Bass, Sig. Bottesini,
Pianoforte, Herr Kuhe,
Conductor, Mr. Costa.
The general rehearsal was on the day previous to the com-
mencement of the Festival, at which the band, the chorus, and
the solo singers were brought together. The former took their
places in the orchestra, but the solo singers came into the body
of the Hall. This gave us a fine opportunity of seeing them
all, and of shaking hands with some of them. Belletti seemed
BIRMINGHAM FESTIVAL. 207
glad to meet an American, and his countenance brightened as
he spoke of Castle Garden and other concert places. He re-
members his tour and his American friends with gratitude, and
expressed a hope yet again to sing in the United States. Mad-
ame Clara Novello looks almost as young as in 1837, and is as
social and pleasant as before she became a countess. Herr
Formes is a noble specimen of a man; he is full of pleasantry
and good humor ; his voice in conyei*sation is rich, full, sonor-
ous, and, as a gentleman near us observed, '^ seems to come
from a thirty-two foot diapason." Madame Viardot Garcia is
a most interestiug person ; perhaps she appeared the more so to
us, since we knew her to be one of the greatest singers living.
She seems to be perfectly easy and unaffected in her deport-
ment, and simple as a little child. Frankness, honesty, and
firmness of purpose are strongly indicated by her open and in-
telligent countenance. She is not handsome : she may be called
plain in her personal appearance ; but, nevertheless, one cannot
look at her with indifference, or hear her voice without a draw-
ing out of the heart towards her. Miss Dolby, the greatest of
English alto singers, has a noble countenance ; generous, open,
honest, and intelligent.* Madame' Castellan is always smiling
and apparently happy ; she turns her head one side, and looks
as if nothing troubled her, — ^save, perhaps. Time ; who is evi-
dently making inroads upon a &ir and blooming countenance,
and a brilliant, sparkling eye. It was interesting to study the
physiognomy of the fine company of artists, and to mark their
cordial greetings as they first met. The rehearsal commenced
at 11 o'clock, and (with the exception of the necessary inter-
mission for refreshments) continued until nearly 12 at night.
Such pieces only were taken up as were new, or not generally
known. A p>rt of Samson, a new posthumous motette by
Mendelssohn, his fragment of an oratorio, Ckristits, and also of
208 .BIRMINGHAM FESTIVAL.
Zorelie. Beethoven's great 9th, and various other pieces be-
longing to the evening performances, were more or less re-
hearsed. Beethoven's Choral Symphony occupied about two
hours. It was evidently the piece for the success of which Mr.
"~Costa-i©ltu4llfi_gregtest anxiety — since it is the most difficult
composition on the programme; and he spared no effort to
make its performance perfect. It was originally written for the
London Philharmonic Society ; but it was not performed with
any success until long after its production.
This rehearsal-day was full of interest and instruction, and
afforded us an opportunity of standing a little behind the cur-
tain, and of seeing something more of the principal vocalists
than we otherwise could have done. Though tedious, the re-
sult was satis&ctory ; and when it was nearly 12 o'clock, and
the company parted, there seemed to be a general assurance of
a successful performance on the morrow.
FmsT Day — Tuesday. " Eluah." — ^The morning was inaus-
picious. The clouds, dark and heavy, at once shut out the
cheerful light of the sun, and poured out a cold, continuous
rain, which was anything but musical i#its appearance and in-
fluence. We left our lodgings about an hour before the time
appointed for the commencement of the performance, and as we
came to the street leading directly to the Hall, we found the
sidewalks filled with people of all ages and descriptions, who,
notwithstanding the mud and wet, had taken their stand to look
into the carriages as they passed. The row of carriages at this
time extended full a quarter of a mile from the Hall. The
police regulations were excellent, and officers were stationed
all around to see that they were observed. As the carriages
were not permitted to break the line, and moved very slowly,
a fine opportunity was afforded to those on the sidewalks to get
BIBMINGHAM FESTIVAL. * 209
a glimpse of the beautiful ladies and their elegant dresses, — and
this was about all that the common people could get of the
Festival ; — ^the eye was gratified with a passing view of ele-
gance and splendor without, although the ear might not be per-
mitted to hear the wonderful combinations and successions of
sounds within.
On arriving at the Hall we took a stand so as to have a view
of the carriages as they came up, and of the ladies and gentle-
men as the^ alighted, under cover, and walked up to the en-
trance. No person was allowed to come within about two
hundred feet of the outer door, where the carriages stopped,
unless he was going to attend the concerts ; so there was no
crowding or pressing together at any of the places of entrance.
At a quarter past 10, the unreserved places were all occupied,
and those who had taken reserved seats were &st coming in
and filling them.
Tlie great Hall now presented a most splendid appearance.
It seemed as if all the beauty and fashion of the kingdom, all
the colors of the rainbow, and all the resources of embellish-
ment, had been called in to enliven and give effect to the bril.
liant spectacle. Not the least interesting was the organ gallery,
choir, or orchestra ; its towering seats being so arranged as to
bring within the view of almost every spectator the whole num-
ber (nearly five hundred) of instrumental and vocal performers.
As the time for beginning approached, the organ poured forth
its full and prolonged chords in the majestic and solemn key
of D minor, setting the whole atmosphere in motion, and filling
the space with a torrent oi sound. This continued for three or
five minutes, and afforded an opportunity for the instrumental-
'ists to tune and prepare for action. At half past 11, Lord
Leigh, the President of the Festival, took his seat in the front
gallery opposite the conductor; at the same moment, the solo
210 BIRNINGHAM FESTIVAL.
singers came in and took their seats. These were followed hj
Costa, who was received on this as on every other occctsion on
his entrance into the Mali during the Jour days, with warm ap-
plause by the performers as well as by the audience. Afler
bowing repeatedly to both parties, he lifted the baton ; when,
in an instant, all was hushed ; and Madame Castellan led off (in
the key of B flat) with God save the Queen., The whole audi-
ence instantly rose, and remained standing during the three
stanzas, the second of which was by the solo voices in F, and
the third by the whole band and chorus in the original key.
As soon as this was closed, Herr Formes (For-mez), as Eli-
jah, arose, and in his deep, solemn voice, announced the curse :
As God, the Lord Ghd of Israel liveth, before whom I stand ;
there shall not be dew nor rain these years, but according to my
word. The effect was fearful ; and a sense of awe or dread
seemed to rest upon the people. The gloom and desolation of
the famine thus brought up to the imagination, was immedi-
ately and most effectively presented by the soft and plaintive
strains of 4he overture, which was without a fault in its per-
formance, and which prepared the way for the cry of the peo-
ple, Help, Lord ! wilt thou quite destroy us ? This chorus, and
especially the movement. The harvest now is over, was wonder-
fully effective. Thus the Elijah had begun in good earnest.
The solo singers were Madame Castellan, Madame Clara No-
vello, Madame Viardot, Miss Dolby, Miss Williams, Mrs. Bull,
Herr Formes, Mr. Lockey, Mr. Sims Reeves, Mr. Weiss, and
Mr. T, Williams.
We have already alluded to the iijjroductory prologue, (the
announcement of the curse,) by Herr Formes ; great, very great
was his rendering, throughout, of the extremely difficult part of
Elijah ; and he fully met, in his after-performance, all the ex*
BIRMINGHAM FESTIVAL. 211
pectations he awakened by the splendid delivery of this opening
recitative.
Mr. Lockey, who has a very pure tenor voice, and a chaste
style, though not much power, sang with great acceptance, the
charming air. If with all your hearts ye truly seek me^ as also the
preceding recitative. The double quartet (a very popular
piece) was well given ; and we thought that if those churches
which per&r quartet singing could always have as good a
double quartet as this, less offence would be given to true taste.
There were time, tune, and equality of voices, three things not
always found in our church quartets. It is comparatively easy
to train a chorus to sing well, but a quartet requires artists. It
is not easy to obtain a good one.
Miss Williams sang the recitative. Now Cherith^s brook is
dried up^ as well as one could desire to hear it. A charming voice,
and a most perfect delivery of every tone and of every word.
The succeeding recitatives and duet between The Widow, and
Elijah, were by Madame Castellan and Herr Formes. Mad.
Castellan's manner was altogether too light and careless. She
appeared indifferent, and manifested none of the deep feeling so
necessary to the circumstances. Indeed, she did not seem to
care whether her son was restored or not. Besides this, we
cannot help thinking our author himself somewhat in fault here.
The scene appeared to us to be a failure ; that is, it wanted the
appearance of appropriate emotion. Not so the scene between
Elijah, Ahab and the People, As God the Lord ofSahaoth liveth,
&c., in which the performers seemed to be in good earnest, and
in which the composer appears to have furnished a musical
form well adapted to express the sentiments of the text.
The recitative by Elijah, (Herr Formes,) thou who makest
thy angels spirits, &c., hushed the multitudinous audience to a
perfect stillness. Softly, gently, yet most distinctly and
212 BIBMINGHAM FESTIVAL.
solemnly, were the words uttered ; and the effect was most
thrilling. The following air, or rather the latter part of it. For
God is angry with the wicked every day, however well done by
HeiT Formes, was a failure. It is the fault of the composer ;
Mendelssohn's music may well paint the anger of some earthly
tyrant, or the rage and passion of some disappointed and jealous
lover, but to attempt, in this way, to paint the anger of the
great Jehovah, is absurd. His anger is terrible; so says bis
word ; but any human impersonation or representation of it
must &il. A simple announcement of these words, in slow
recitative, or in a plain, solemn melody, without any attempt at
imitation, would be in much better taste. Indeed, the effect of
the air is not to bring up to one's mind the fearful anger of
God, but rather the power of the singer's execution.
. But what shall be said of the 'following air. Woe unto them
who forsake him / Here the composer has done justice to the
text ; but we doubt whether it ever entered into his mind to
conceive the wonderful effect produced by Mad. Viardot's
rendering of the passage. Her whole external manner and ap-
pearance were most beautifully appropriate, and the very first
tone she uttered seemed to tell of deepest compassion and
strongest desire. Description here is impossible ; it was the
gem, the strongest point in the whole oratorio. It touched the
heart, and tears flowed forth. The audience were still as death ;
every one was compelled to give breathless attention. We
wish we could give some idea of the agony expressed by the
words, Destruction shall fall upon them, for they have trans-
gressed against him. And then came the contrast of that which
had been done for them, with the return they had rendered.
By him redeemed — that word " redeemed," especially, was given
with wonderful power. It brought up to our minds most vivid-
ly, the passage, " How often would I have gathered, and ye
BIRMINGHAM FESTIVAL. 213
would not." [See Matthew xxiii. 37.] Tenderness, deep com-
passion, strong desire for the deliverance of the guilty and the
wretched, were perfectly expressed by Madame Viardot. Al-
though Mr. Ck>sta paused a little, after this wonderful effective
air, as if he was unwilling to disturb the tender and deep feel-
ings excited, yet too soon came the following scene. We were
almost angry with Madame Castellan — Hearest thou the sound
of rain ? Seest thou nothing arise from the deep ? " No ; there
is nothing :" said the youth. Quite descriptive of your per-
formance, thought we; indeed " there is nothing" — or at least
no appropriate feeling manifested in the singing. Here, again,
we think our author somewhat in &idt; it is a mistake
thus to try to prevail on God by blasts of trombones ; — ^more
gentle language seems better adapted to him whg cries for mer-
cy in the words, " unto thee will I cry^ O Lord^ my rock ; he not
silent to me ; and in great mercies remember^ Lord,
The chorus that concludes the first part of the oratorio,
"Thanks be to God," was most magnificently done. The
second part, especially. The stormy billows are high ; their fury
is mighty : but the Lord is above them, Almightt, was given
in a manner not easily to be surpassed by human power. A
recess of twenty minutes gave one an opportunity to breathe
again, to look around upon the splendid scene, and to recover
strength for the remainder of the oratorio.
Again the loud organ poured forth its minor chords, the in-
struments were tuned, and in a few moments the clear, trans-
parent, enchanting voice of Madame Clara Novello, singing
most delightfully, JBear, ye Israel ; hear what the Lord speaketh,
was heard. Madame Clara Novello has indeed a most charm-
ing voice, than which nothing in the region of tones can be more
perfect. Her use of it, too, is artistic and beautiful in the high-
est degree, and in her singing of this song, not a &ult could be
214 BIBHIKGHAM FESTIVAL.
detected. She cannot execute a passage like Sontao, (nor can
any one else,) but in a different way, we had almost said, she is
equally as good. To say this, however, or to say that any one
is as good as Sontag, is a bold thing ; and we are glad we did
not quite say it. But Madame Yiardot is again heard in the
splendid scene in which Jezebel denounces Elijah. The recita-
tives were delivered with great dramatic power ; we have sel-
dom, if ever before, heard such powerful declamation in recita-
tive. Madame Yiardot Grarcia excels in this particular depart-
ment of song ; she belongs to the great, the tragic, or to what-
ever calls forth the deep passions of the soul. Mr. Sims
Reeves made fine use of his beautiful voice, in the Recitative,
Man of Ood\ yet with still better efiect did he give the fine
song aflerwards, ^' Then shall the righteous shine forth." The
trio, "Lift up thine eyes," (originally written as a duet, and
afterwards changed to a trio,) was sung by three perfect voices^
viz. : Madame Clara Novello, Miss M. Williams, and Miss
Dolby ; and we doubt whether it ever was or ever will be done
better. Notwithstanding applause was strictly prohibited, the
audience could not be restrained ; there was a gentle moving
and slight clapping of the hands, which caused the President,
Lord Leigh, to make a sign for its repetition. '' He watches
over Israel," the succeeding chorus, may be regarded as a part
of the trio, and its performance was equally good. Most
charming, too, was the air, " O rest in the Lord." Miss Dolby,
who sang this song, has as fine an alto voice as any one in the
world, not excepting even Alboni herself; she is also an accom-
plished singer, being one of the best English vocalists living.
Herr Formes, always good, seemed to rise as he drew near to
the end of his part ; his magnificent voice, his perfect declama-
tion, his dignified manner, his pathos and expression, left nothing
to be desired in the part of Elijah ; and that most beautiful air.
BIRMINGHAM FESTIVAL. 215
" For the mountains shall depart, and the hills be removed,"
with its rich vein of melody, was not only one of the finest ex-
hibitions of the artist's wonderful vocal power, but a most ap-
propriate finale to the fine reading of the music, and general
representation of the character which had been given. We
have heard it remarked that the close of the oratorio is heavy
and uninteresting ; this, however, cannot be, if it is well done.
There was, on this occasion, but one feature to the pieces fol-
lowing Elijah's last song, and that was unvaried excellence ;
while the closing chorus was truly magnificent. Tlie choruses
throughout the whole oratorio were well done, (though we think
the English chorus singers less firm and sure than the German,)
and the orchestra could have hardly been better. The oratorio
closed at half-past two, and many were heard to exclaim, " We
never heard Elijah so well done before ;" Costa himself is said
to have made the remark : " I have no wish ever to conduct
Elijah again, for I can never expeet to have such a band under
my control." '
We cannot now enter into any review of the excellencies of
the oratorio, but must assume that our readers have heard it, or
have so examined and studied the score as to know something
of this great production of Mendelssohn ; which has certainly
taken stronger hold of the English, than any other oratorio
since the days of Handel. It seems to be the opinion of musi-
cal men, that Elijah ranks with the greatest productions of
human genius, and is destined to live with the Messiah^ Israel
and Samson. Indeed, not a few are found who even give to
Elijah, considered as a perfect whoU^ the first place ; who say
that it is free from those weaknesses that are found in all similar
productions, and that in every piece, the music worthy of the
subject is feultless. While we are clearly of the opinion that
it ranks very high, coming next, perhaps, to Handel, and while
216 BIBMINGHAM FESTIVAL.
we may be disposed to admit that in a mere scientific or techni-
cal view it may be more finished than the Messiah, still we can-
not, as yet, believe that it comes near to that immortal work,
or that it will ever become so universally popular ; nor that in
point of true sublimity it is to be compared for a moment with
the greatest of all Handel's productions '^ Israel ik Egypt."
Since writing the foregoing, we have thought that the entire
cast of the oratorio would be interesting to our readers who
are in possession of Elijcik ; and who is he, being a musician,
who has not obtained a copy of this great work ?
PART I
Prologue, Herr Formes, " As God. the Lord,"
Duet and Chobus, Madame Castellan and Miss Williams, " Zion Spread-
eth her hand" " Lord bow thine ear."
RBcrTATivE and Air, Mr. Lockey, " If with all your hearts."
Rboitatiye, Miss Dolby, " Elijah get thee hence.'*
Double Quartet, Madame Castellan, Mrs. Bull, Miss Dolby, Miss M.
Williams, Mr. Lockey, Mr. T. Williams, Mr. Weiss, and Mr. Smythson,
" For he shall give."
Recitative, Miss M. Williams, " Now Cherith*s brook."
Recitative and Dust, Madame CasteUan and Herr Formes, " Give me
thy son."
RsaTATivE and Chorus, Herr Formes and Mr. Lockey, "As Gk>d the
Lord"
Recitative, Herr Formes, " Call him louder."
RsorrATivE and Aib, Herr Formes, " Draw near all ye people."
Quartet, Madame Castellan, Miss M. Williams, Mr. Lockey and Mr.
Weiss, " Cast thy burden."
Recitative, Herr Formes, " O thou who makesf
Recitative, Herr Formes and Chorus, " Take all the prophets."
Air, Herr Formes, " Is not his word like a Fire ?"
Air, Madame Viardot Garcia^ " Woe unto them."
Recitative, Mr. Lockey, " O man of God."
Recitative nod Chorus, Herr Formes and Madame Castellan, *' Lord,
thou hast overthrown."
BIEMINGHAM FESTIVAL. 217
PART IL
Air, Madame Clara Novello, " Hear ye, Israel.**
RECirATiYE, Herr Formes, " The Lord hath exalted."
Solo, Madame Yiardot Garcia, and Chorus, " Have ye not heard.**
Recitative, Mr. Sims Reeves, " Man of God."
Recitative and Air, Herr Formes, *' It is enough, O Lord."
Recitative, Mr. Sims Reeves, ** See now he sleepeth.'*
Trio, Madame Clara Novello, Miss M "Williams and Miss Dolby, " lift
thine eyes."
Recitative, Miss Dolby and Herr Formes, " Arise, Elijah.'*
Air, Miss Dolby, " O rest in the Lord."
Recitative, Herr Formes and Madame Clara Novello, " Night fiilleth.**
Recitative, Miss Dolby, " Above him stood.**
Quartet and Chorus, Madame Clara Novello, Mrs. Bull, Miss M. Wil-
liams and Miss Dolby, ** Holy, holy, holy.**
Choral Recitative and Solo, Herr Formes and Chorus, " Gk>, return
upon thy way.**
Air, Herr Formes, " For the mountains.**
Air, Mr. Sims Reeves, ** Then shall the righteous.**
Rbctfative, Madame Clara Novello, " Behold' God hath sent.**
Quartet, Madame Clara Novello, Miss M. Williams, Mr. Sims Reeves, and
Mr. Weiss, " O Come every one.**
The amount of money received for this morning's perform-
ance was somewhat more than eleven thousand and five hun-
dred DOLLARS.
Tuesday evening. — ^The weather was unpropitious, and the
evening was cold and damp. The Hall was not much more
than half filled. At no other performance during the Festi-
val, was the audience so small as this evening. The concert
commenced at eight, and the programme was as follows :
PART L
Overture, Jessonda. Spohr,
Aria, Signer Belletti, ** Sorgette.** AasecUo di Corinto JRonini,
10
218 BIRMIKCBSAM rsaTPTAJU
Trio^ Mias IL WiUttiiM, Mr. T. Wllfiiiin» SDd Bfr. Im^
a cold." Caaia.
Aria, Mde. Castellan, ** O luee di quest amma." Lunda. DimixeHi.
Dco^ Mdle. Anna Zerr and Mr. Sims Reerea^ ''SuOa tomlML*
iMcia di L ammermo oT ^DonizettL
AaiA, Signor 'Tunberlik e Ooro, ^ Ah I dod temer." FomU Spokr.
AaiA, Mis Dolby, "KobQ SigDor." Hu^mowU, Meyerbeer.
Doo^ Madame Yiardot Garcia e Madame GasteUan, " Per serbar
me fedeL" Propkite. Meyerbeer.
Ajlia, Madame Clara NoTello, '' Ddi Tiem." Nozxe di Fifforo. . . . Jfosarf.
FiNAu; Madame GasteUan, Mdlle. Bertrandi, Signor Tamberlik,
Mr. IjoAey, Signori Polinini. Bdletti e Cor<\ ^Mi
manca la Yooe." Jfote tfi Egitto. RomnL
PARTIL
-"nie First Walpnrgis mghl* MendtUaokn,
PART m.
Oykrturb, GuUlaume TelL JBossml
Ant, Mdlle. Anna Zerr, Yariatians C.I*roeh,
Akta, Herr Formes e Coro, *' Possentti numL" 11 JFtauto Moffieo. .Mosart,
Duo, (Violin e Yioloneello,) M. Sainton e Signor Piatti.
AaiA, Madame Yiardot Oarcia, ** Nacqui all afihnna "^CefterefUola, .Bossini
T&io, Madame Clara Novello, Miss Dolby, and Mr. Lockey, " O
dolce e caro instante." OimaroM,
AiB, Mr. Sims Reeres, "Soft Airs" EwyatUhe F«6<r.
Duo, Mde. Castellan e Signor Tamberlik. ^* Per te d*una sposa."
I Martiri Dcnixettu
AiB, Mdlle. Bertrandi, "Robert, toi que j'aime." Roberto. . . ^Meyerbeer,
Preghisra e finale, " Numa del cieL" MauanUllo Auber.
It hardly need be said that the great attraction of the even-
ing was the cantata by Mendelssohn — ^^ The First Walpinrgis
night." The following explanatory note is from the pro-
gramme of the evening. '* The Germand legend, that witches
and evil spirits assemble on the night of the first of May (Wal-
pui^s Nacht) on the summit of the Hans Mountains, is sup-
BIHMINGHAM FESTIVAL. 219
posed to have taken its origin in the heathen time, when the
Christians tried by force to prevent the Druids from observing
their accustomed rights of sacrificing in the open air, and on the
hills. The Draids are said to have placed watches round their
mountains, who, with their dreadful appearance, hovering round
the fires, and clashing with their weapons, frightened the enemy,
and the ceremonies were proceeded with." On this tradition
Goethe founded the poem, which Mendelssohn has set to music.
It begins with an overture, describing a Winter storm, and the
gradually-approaching Spring. It is thoroughly Mendelssohn.
The power of stringed instruments is wonderfully brought out,
and the whole piece is most effective. A spring song of the
Druids follow ;
" Now May again
Breaks Winter's chain.
The bud and bloom are springing t
No snow is seen,
The leaves are green,
The woodland choirs are singing,** <Scc.
This was finely given by Mr. Lockey and chorus. A solo by
Miss M. Williams, " Know ye not a deed so daring," was sung
as well as need be. Miss M. Williams has a charming alto
voice (we repeat it) and sings finely. A chorus of Druid
Guards, " Disperse, disperse, ye gallant men," brought out in
a remarkable manner pianissimo ; it was whispered by both
orchestra and choir. This is soon followed by a most extraor-
dinary chorus, to the following words :
** Come with torches brightly flashing ;
Rush along with billets clashing ;
Through the night-gloom lead and follow,
In and out each rocky hollow.
Owls and ravens,
Howl with us, and scare the crayens.'*
220 BIBMINGHAM FESTIVAL.
Most brilliant and characteristic is the music ; Mendelssohn
seems to have felt at liberty to employ all the powers of instru-
ments and voices, and he has done so, in his own masterly way.
The sweep of the tempest, the howling of the winds, and the
glare of the torches, the rush to the battle, the gloom of the
thick darkness, and the screeches of the birds of night, though
not attempted to be particularly described, are yet, in general,
well portrayed. The staccato is admirably employed. The
violins are fully occupied, the trumpets and brass instruments
send forth their blasts of horror, the cymbals clash, the drums
roar, and the yelling of voices is heard, altogether forming an
aggregation of sounds as frightful as ever entered into the im-
agination of mortal man. It was brought out, one would sup-
pose, according to the full intent of the composer, and the
effect was terrific indeed. The " Legion," " from Satan's re-
gion," " in flames advancing," " on wolves and dragons riding,"
^ Imp and Devil^'* having been successful in driving away their
enemies, the cantata closes with a full chorus of Druids.
" Unclouded now, the flame is bright,
Though faith from error sever ;
Though foes may cloud or quell our light,
Thy light shall shine forever."
And thus they chant their hymn unmolested, in grand and
solemn strains. The Walpurgis Night seemed to give great
satisfaction ; and, for aught we saw, the people were as much
delighted, and as well satisfied, with the success of the Druids,
as with the triumphs of a more mild and rational religion, based
on the revelation of Him who came to save from sin. The
moral effect of song seems to be regarded as of much less im-
portance than its artistic excellence.
"Hie overtures, " Jessonda," and " William Tell," were play-
•^
BIRMINGHAK FESTIVAL. 221
ed widi great spirit, and the latter called out a hearty encore.
The violoncello solo was finely done by Mr. Charles Lucas,
successor to the veteran Lindley. Signor Belletti did himself
great credit by his '< Sofgette" of Jlossini, which he sang with
the same unerring certainty, good taste, and perfect execution
as in America. Madame Castellan was quite at home in the
evening concerts ; she has a great power of vocalization, sings
well, and generally pleases. It has been remarked that she
has much improved since she was in the United States. The
duet from the Prophete, ^' Per serbar me &del," was well sung
by Madame Viardot and Madame Castellan, but it was ineffect-
ive, and appeared quite out of place. It belongs to the opera,
and loses its interest when taken out of its connection. This re-
mark is also applicable to many of the pieces which were sung
at this and at the other evening concerts. Most extracts from
operas are quite dependent upon their relation to the general
plot, or othelr musical pieces, with which they are originally
connected. Madame Clara Novello sang very beautifully the
Aria " Deh ! Vieni, non tardar," from Nozze de Figaro, by Mo-
zart. We should have been charmed with this, had we not
beard Madame Jenny Lind Goldschmidt sing it both in New
York and in Boston ; besides which, we have heard it by Mad-
ame Henrietta Sontag, in its regular place in the opera. It is
hardly possible under such circumstances that any other per-
formance of the same song should be satis&ctory. The closing
chorus in " Moses in Egypt'' was well worth hearing, as done
by Madame Castellan, Mademoiselle Bertrandi, Signor Tamber-
lik, Signor Polinini, Mr. Lockey, and Signor Belletti, with the
full choir. The final chorus especially was animating in a high
degree. This chorus was performed many years ago at the
concerts of the Boston Academy of Music ; it is very brilliant,
and we always wondered why it should have been altogether
222 BIRMINGHAM FSSTIYAL.
omitted by the Boston Handel and Haydn Society when they
sang the music to this popular opera of Rossini. Mademoiselle
Anna Zerr sang a song requiring very difficult vocalization, and
did it weU ; but it failed to please us, for we could not help mak
Ing the comparison between the singer and Sontao, whose pow-
ers of execution are much greater. Herr Formes sang the de-
licious melody " Possentti Numi," jBx)m II Flauto Magico, by
Mozart, to perfection ; but the accompanying chorus was rather
dull and heavy — not much so, indeed, yet so much as to be
quite intolerable in the Birmingham Hall. One of the most
interesting performances of the evening was a Duo (violin and
violoncello) by Mr. Sainton and Signer Piatti, both artists of
great excellence. We think we have never heard so beautiful
a tone from the violoncello before, not even when in the hands
of Romberg of Berlin.
An incident occurred towards the close of the concert that
awakened some feeling. A duet near the beginning of the pro-
gramme had been omitted, and, as was naturally supposed, on
account of the absence of one of the singers. The duet was to
have been sung by Mademoiselle Anna Zerr and Mr. Sims
Reeves, and the supposition by some persons present (concert-
goers) was, that Mr. Sims Reeves was the delinquent ; conse-
quently, when he came on the stage to sing a song, (^^ Soft airs
around me play," by Weber,) he was received with a chorus
of hisses. He looked up aghast, bowed, and retired. Mr.
Costa immediately arose, and, turning to the audience, said :
" It is not Mr. ReeVes' feult — Mr. Reeves was here ; it was not
Mr. Reeves' foult." Loud cheers followed. Mr. Reeves reap-
peared, and, after greeting Mr. Costa by a warm shake of the
hand, proceeded with his song ; he was loudly applauded — re-
called — ^bowed — and retired, amidst shouts of commendation,
so long and loud as to make ample amends for the sibilants of
BIBMINGHAK FESTIVAL. 228
his firist appearance. The ooncert this evening closed at a quar-
ter before twelve o'clock ; the amount received was somewhat
more than two thousakd and one hundred dollars.
Wednesday Morning. — ^''Christus," " Creation." — ^Although
the night was dark and full of rain, the morning opened bright-
ly. At a little past ten, the streets were full, and a long line
€^ carriages extended nearly half a mUe from the Hall, filled
with kdies and gentlemen, making their way towards the grand
scene of attraction. The streets were almost impassable, be-
cause of the crowd ; we took care to have a hand on the purse,
for some of these English rogues are expert at extracting the
contents of one's pocket. The Hall was well filled at an early
hour, and looked gayer in the bright sunshine of to-day than in
the dark clouds of yesterday.. Exactly at the appointed time,
the immense organ threw out a volume of sound, in minor
chords, majestic, sublime. Oh ! that those little organists who
delight in &ncy stops, and play very sweet voluntaries from
some Italian opera, on the flute, oboe, and daribella, could
bear, and hearing, feel, tremble, be converted, «id made to ap-
preciate the greatness of their instrument, and its true uses in
worship ! Let the fiill and rich diapasons sound on the Sabbath
morning, for it is they that tell of God, saying, " The Lord is
in his holy temple ; let the whole earth fear before him."
Thus &r, the festival had been quite Mendelssohnian in its
character ; and this morning again the conc^ commenced with
a new motet by our great modem composer.
" Saviour of sinners, throned in glory,
Adoration, prnise, and might be unto Thee.
Holy Redeemer, hear us in mercy !
Save and bless us, in mercy,
Lord, forgive our sins.
Lord, let thy mercy fall upon us,
Saviour of sinners, hear us In mercy T
224 BIRMINGHAM FESTIVAL.
' The motet is written in eight parts ; its character is truly
religious, and it seems well expressive of the words. The same
subject as is heard in Handel's Hallelujah, at the words, " For
the Lord God omnipotent reigneth," (a very common one,) is
brought in, though its treatment is entirely difierent from that
of Handel. The piece was not well performed. The chorus
was not only unsteady, but sometimes out of tune. We think
the piece itself was somewhat out of place, being adapted to a
church rather than to a concert room. This was followed by a
posthumous fragment of an oratorio, also by Mendelssohn,
called " Christus." It consists of a succession of recitatives
and choruses, relating to the birth and death of the Saviour.
While it imdoubtedly possesses great merit, we doubt whether
Mendelssohn would have consented to its publication. It is a
first sketch ; and it is well known how his first sketches had to
yield to after-thoughts. Some of the critics, however, praise it
very much, and say that it is an advance even on " Elijah.'*
The string of recitatives and choruses is very peculiar, remind-
ing one somewhat of "Israel in Egypt," yet there is no approach
to similarity in the music. It is highly dramatic, and is full %f
striking passages. The composer makes great use of the mi-
nor, (as does every great writer,) for example ; a recitative,
" Then said Pilate," in A minor, is followed by a chorus in D
minor ; this again is succeeded by a chorus, highly dramatic, in
G minor, attaining a climax in the following chorus, " Crucify
him," in C minor. Two old German chorales are introduced,
and treated in the masterly manner in which our author is
wont to do such things. The " Christus" was well received ;
and every one spoke well both of the composition and its first
performance on this occasion.
This was followed by an anthem composed by Dr. Wesley.
The anthem con<dsts of a quartet, solo, recitative, and chorus,
BIBMIKGHAM FESTIVAL. 225
and is written with orchestral accompaniments. The words are
from Isaiah, commencing, "The wilderness and the solitary
place shall be glad," &c. The solo parts were by Madame
Clara Novello, Miss M. Williams, Mr. Lockey, and Herr
Formes. Dr. Wesley conducted the performance, but it was
not well done. The fact is, no such thing can be well done
with a single rehearsal ; the singers were not sufficiently ac-
quainted with it ; consequently, there was a want of confidence ;
and a kind of zig-zag or here-and-there effect was the result.
We will not pass judgment upon a composition that had not a
feir trial ; but we were decidedly pleased with the fine contra-
puntal arrangement of the chorus. And now followed, as the
last thing on the programme of the morning's performances,
the " Creation" of Haydn. We have never before heard it
half so well done, either in the solo, chorus, or orchestral parts.
The chaotic symphony, however, though exquisitely played,
&ils now to represent chaos. More modern authors have be-
come so much more chaotic in their storms, and in various
representations of fiendish passions, that Haydn's introduction
seems like quite a plain piece of harmony. Perhaps we can
hardly refer to a clearer illustration of the advance of musical
science, than a comparison of this piece with some of Beetho-
ven's or Mendelssohn's dark and labyrinthian harmonies. The
solo parts were by Madame Clara Novello, Madame Castellan,
Mr. Sims Reeves, Mr. Lockey, Mr. Weiss, and Herr Formes.
Very slowly and distinctly were the recitatives uttered — ^more
so than we are accustomed to hear them in the United States.
Madame Clara Novello sang the two soprano songs as well,
probably, as any living English vocalist can give them. Mr.
Sims Beeves sang " In native worth" without fault, and Herr
Formes performed his pai*t in characteristic style ; he is always
good and great. The choruses all went superbly ; we know
10*
226 BIBHINGHAM FESTIYAXi.
not to which to give the preference. The change in the time in
" The heavens are telling" was not so great as we have been
used to observe. The chorus, " Glory to his name," a very
fine fugue, was magnificently done ; and indeed so were all the
other choruses. The concert this m<H7iing closed at a quarter
before three o'clodi;, and the amount of money received was
upwards of eight thousand and two hundred dollars.
Wednesday Evening. — ^A large and brilliant assemblage was
waiting for half-an-hour before eight Mr. Costa was greeted
as usual. The band appeared to be of good cheer, and the peo-
ple full of expectation. The b^ton moved, and we were listen-
ing to the symphony (Jupiter) by Mozart. It is said that this
great work of Mozart, together with two other symphonies, the
last he ever composed, were all written in the short space of
six weeks ; yet they are regarded as among the finest composi-
tions of their class ; the Jnpiter^ in particular, being oflen quoted
as one of the finest specimens of contrapuntal writing extant.
The last movement contains four distinct subjects, which are
finally brought together and worked up with all the ingenuity
of one of the most brilliant musical geniuses that ever existed.
Every member of the orchestra was on the alert, and Costa was
everywhere ; his eye or his gesticulations were in all the parts,
and his direction firm, steady, and energetic in the highest de-
gree. The following is the evening's programme :
PART L
Stufhont, " Jupiter." ,Mazart.
Aeia, Miss M. Williams, " Paga fui." Proserpina, Winter,
Duo, Madame Castellan e Signor Belle tti, **Pronta io son.'*
Don Pasquale Donizetti,
Aria, Mde. Clara Novello, " Come per me." Somnambula. ..... .Bellini,
Solo, (Pianoforte,) Herr Kuhe.
Air, Madame Yiardot Garcia, "Ah! mon fils." Prophete, . . . , Meyerbeer^
BIBHINGHAM FESTIYAJL. 227
SsESNATA, Mr. Sims Reeves e Coro, "dmi^h gcntiL" Don
PoBqwde. Donizetti.
Duo, Signor Tamberlik e Herr Formes, "Sara il mourir."
MoManiello Avher.
Aria, Mde. Castellan, " Prendi per me.*' BEliBir d^Amore., . . , Donizetti,
Air, Mr. Weiss, « The Wanderer." Schubert.
Grand Finale, Mde. Clara Novello and chorus. Lorely.» . . , Mendelssohn,
[An unpublished posthumous Opera — ^first time of performance.]
PART IL
OriEETOitv. Der Freysehutz ' Weher,
Aria, Mdlle. Anna Zerr, " Gli' anguL'* FlmUo Magico .Mozart,
SoNO, Mr. Lookey, " O beauteous daughter.** Beethoven.
Trio, Signori Tamberlik, Belletti, e Herr Formes, " Trencar
suoi dL** Guillaume Tell, Rossini,
Aria, Miss Dolbj, ** Ah rendimi quel cor.** Francisco Rossi,
Ddo, (Yiolobcello e Contrabasso,) Signori Haiti e Bottesini, on
airs from Pnritani Bottesini,
SoBNA, Mr. Sims Reeves, "Tom is the veil.** Fridolin., F. Mori.
ScRNA, Madame Viardot e Coro, " Chi mai dell* Erebeo.** Orfeo,, , . ,Qluck,
Duo, Madame Castellan e Herr Formes, " Nella Notte.** Hugue-
nots. Meyerbeer,
Aria, Signor Tamberlik e Coro, " Re del Ciel.** Prophete., . , Meyerbeer,
Aria, Mdlle. Bertrandi, ** Mi tradi.** Don Juan. Mozart.
Grand Finale, Signori Tamberlik, Pollnini, Herr Formes e
Coro. " Gugliemo sol per te.** Ouillautne Tell. Rossini,
The symphony over, Miss M. Williams sang, most simply
and chastely, a very classical song biy Winter ; and this was
followed by the humorous duet ^om Jktn Pasquale^ by Castel-
lan and Belletti. This was one of the most finished perform-
ances of the concert. Madame Clara Novello was encored in
the succeeding sqng by Efellini ; she answered with a courtesy,
graceful and winning, giving way to Mendelssohn's concerto for
the pianoforte wl^ch followed, and which was well played by
Hei^ Kuhe, though nf e tt^mk wp l^aye Jieafd a fi^nier, clea^rer
228 BIBMINaHAM FESTIVAL.
touch. Grarcia now sang *' Ah ! mon fils," from Meyerbeer's
"Proph6te;" some parts of which were delivered with a plaintive
tenderness that failed not to touch the heart. Garcia always
touches the heart ; she does not astonish one, or make one laugh,
but she pierces the soul, and tears answer. '^ Com' e gentil "
(Don Pasquale) by Mr. Sims Reeves, received an enthusiastic
encore. Castellan was brilliant in the song from '^ L'Elisir
d'Amore," into which she threw much life and playfulness.
The great attraction of this concert was a part of the unfin-
ished posthumous opera by Mendelssohn, "Lorely," or the
" Spirit of the Rhine," which was now performed for the, first
time. It consists of a grand scene for soprano and chorus. All
we know of the story is that the heroine of the opera, having
been forsaken by her lover, seeks for aid or redress from the
spirits of the Rhine. They bestow upon her irresistible charms,
and a voice capable of inspiring deepest love, by which she is
determined to be revenged on man. She then weds the river,
to which she devotes herself, and promises she will dwell in its
waters forever. Most Mendelssohnian is the music, especially
the opening chorus in E minor and A minor. No one will
doubt its authenticity. But notwithstanding its author's im-
press is so clearly stamped upon it, there is a vein of originality
running through it, an originality, too, that seems not to have
been studied or far-fetched, but which flows in a natural and
easy manner ; showing that all that is natural and melodious in
music has not yet been exhausted. Madame Qara Novello
sustained her part well, and the chorus and the orchestra exerted
themselves to the utmost. The music gave great satis&ction,
and was received with loud and continued expressions of delight.
The second part of the concert was opened by the overture
to " Der Freyschiitz," which was loudly encored, a deserved
compliment, for it was done to perfection, l^ademoiselle Anna
BIBMINGHAM FESTIVAL. 229
Zerr sang from « D Flauto Magico," the very difficult Aria " Gli
angui d'inferno," in which she went up, dear and certain as a
flageolet, to F. An encore followed, and she sang it again,
even better than at first. Mr. Lockey, who is a real tenor, soil
and gentle, sang "O beauteous daughter," followed by the
splendid trio in William Tell, by Tamberlik, Belletti, and
Formes. Now came the ever interesting alto voice of Miss
Dolby, in a quaint old air of 1680 ; after which came a duet by
violoncello and double bass, reminding us of Lindley and Drag-
onetti. The performers were Piatti, the best violoncellist we
havG ever heard, and Bottesini, who excels every one else on
the double bass. The scene from Orfeo, by Gluck, was full of
deep pathos. It was charmingly done by Madame Viardot
Garda, who was well sustained by the chorus. It was past
eleven o'clock; the people were fatigued, having* listened to
piece after piece of beautiful music, admirably performed, until
they could give attention no longer ; and during the remaining
four pieces, one and another was going out, until there were
but few left. We pitied Mdlle. Bertrandi, pretty little lady,
and felt sorry that she must sing her song so finely to empty
seats ; but it -could not be helped. The concert was too long,
quite too long, for it was after midnight before it closed. The
amount received for this concert was upwards of four thousand
AND THREE HUNDRED DOLLARS.
Thursday Morning — The " Messiah." — ^This was the grand
day — ^the climax of the Festival. This morning the musical
thermometer was at its highest point ; musical stock was in
great demand and brought a high premium. The tickets had
all been taken up, and now a standing place was sought for, at
a guinea, in vain. There is an astonishing rage for the Messiah,
in England ; it is always the great attraction at these Festivals,
230 BIBIONOHAK FESTIVAL.
Eveiy place was occupied, and such a dazzling array of beauty
and &dbion one cannot often behold. It may interest some to
know, that at the morning concerts the ladies all wore light silk
bonnets, small, only covering the head, not the £ace ; the greater
number of these were white, but there was also every possible
shade of yellow, pink, blue, &;c, &c., &c. At the evening con-
certs, of course, no bcmnets were woin, but every one was in
full dress. On this day, there was a more rich and brilliant
scene presented than at any other performance, since every
available corner of the house was occupied.
At a quarter past eleven, the great organ, as if inspire^, not
BO much by the brilliant auditory, as by the lofly subject of the
oratorio, poured forth one mighty rush of sounds, filling the
imagination with ideas of greatness and wonder. Mr. Stimp-
son, the oi^anist, did his best, but yet he did nothing more than
to give out the minor chord of D and its relatives. The object
of this was threefold : it announced the pitch, cov* '^ orchestral
tunings, and filled the mind with thoughts of the sublime.
Mr. Costa was a few minutes behind his time, but as soon as
he took his place, the overture, in its commencing chords, was
heard. It was most admirably played. Think of the fugue
led off by twenty-six violins, and answered by as many more ;
think of the roar of thirty-six violoncellos and double basses,
and the coming in of the other instruments ; imagine every
point to be taken up with the most perfect accuracy, and the
subject carried on without the slightest wavering or doubtful-
ness ! It was a fugue indeed. We have (we are ashamed to
confess it) sometimes thought the overture unworthy of the
oratorio, but it was because we knew it not. How often is a
fine tune (in psalmody) in like manner, thought to be indiffer-
ent, merely because we have not the knowledge or the taste
requisite to perceive its excellence. Many persons prefer Cor-
f BIKMINGHAM FESTIYAL. 2S1
onation to St. Ann's, or anything that is soft and pretty to the
noble strains of the Old Hundredth or Windsor.
Mr. Sims Reeves sang the opening recitative and air, Com-
fort ye my people, &;c. He did it with great care, and applied
* his most excellent voice to the music in fine taste. We have
never before heard it so well sung. It seemed to satisfy even
the old Brahamites, some of whom were near us. The word
God — ^the last of the recitative— was uttered with wonderful
power and propriety. The vocalization in the song was also
clear and distinct. At the close of the song, the chorus, Atid
the glory of the Lord shall he revealed, came forth with such
truth and power as to confirm one's feith and nerve for action.
After Jenny Lind had been introduced to Daniel Webster, she
is reported to have said, ^^ I have seen a man ;" and so, after
one has heard a chorus by Handel rightly interpreted, he may
say, "I have heard a chorus." Haydn, Mozart, Beethoven,
and Mendelssohn have written choruses, but Handel's are cho-
ruses. And now Miss Dolby rose and delivered the recitative.
Thus saith the Lord of Hosts, in perfection ; she sang the word
come at the close of the first recitative, with very fine effect, an
octave lower than it is writtwi, F : — ^a dangerous experiment,
but her splendid voice justified it. The following song, But
who shall abide, she also sang in a most satisfitctory manner.
And thus has Handel been changed, and the alteration is uni-
versally approved. The recitative and song now sung by an
alto, was originally written for a bass voice. Miss Dolby sang
as if she had a proper idea of what she was doing, and several
points were of remarkable force: for example, the great energy
with which she uttered. For he is like a refiner'^ s fire, and the
most beautiful diminish on the words, When he appeareth, at
the close. Her whole appearance, too, while singing, was sol-
emn and dignified. We were sorry this solemnity of deport-
282 BIRMINGHAM FESTIVAL.
ment was not carried out by all the solo singers, when not en-
gaged in singing. The whispering between them did not look
well ; it was neither treating the audience, their own assumed
characters in the oratorio, nor the subject itself with proper
respect.
Solo singers, on such an occasion, should, in every look and
action, do honor to their office, which should be regarded as sa-
cred as is that of him who ministers at the altar of religion.
The following charming chorus in G minor was given as it
deserved : And he shall purify the sons of Levi, that they may
offer unto the Lord an offering of righteousness. Miss M. Wil-
liams spoke the recitative, Behold! a virgin shall conceive, &;c., '
as if she was making the declaration in the name of the Lord ; i
and then, assuming a gentle smile indicating joy, gladness, and !
confidence, both countenance and voice most appropriately
adapted themselves to the air, thou that tellest good tidings
to Zion. All was perfectly natural and easy ; it was as if she
really meant so, and was only speaking forth the heart. Her
whole manner (as well as that of the other solo singers) indi-
cated intellectual cultivation, without which, whatever vocal
talent one may possess, and however long one may study, suc-
cess is impossible. We can hardly attach too much import-
ance to this point : many parents and others seem to think that
a knowledge of music is all that is necessary to success, espe-
cially in one who has a fine voice, or who manifests a strong
love for the art. Now, nothing can be more certain, than that
a good musical education can only be acquired in connection
with general cultivation. A person who is not tasteful in dress,
for example, never can make a really good singer. And the
same may be said of manner generally. One whose walk is
awkward, whose movements are clumsy, whose bow or cour-
tesy is ungraceful, whose gesticulation is untoward, or whose
■BIR3fINGHAM FESTIVAL. 233
speech is inelegant, can neither sing nor play well ; for musical
taste cannot be developed in any considerable degree, except in
connection with general improvement of mind and manners.
We wish we could say more on this point, and also, in connec-
tion, speak of the indispensable necessity of intellectual improve-
ment in those who would become singers, teachers of music, or
teachers of anything else ; but this is not the place. Miss Wil-
liams made a grand point on the word Lord, to the tone C na-
tural ; the chorus which followed, on the same subject, was as
good as the previous song.
But now comes Herr Formes ; — For, behold, darkness shall
cover the earth, and gross darkness the people, &c How delib-
erate ! How subdued ! How distinct in utterance ! The mouth
is opened so that both tones and words flow freely. The very
heart " runneth out at the mouth !" Aye, that is the secret of
his success. Again, let it be repeated, for some one may read
this who may hereafler sing the same thing, nothing was hur-
ried ; sufficient time was taken to utter every word, and for
every sentiment to sink into the heart of the hearer. It was a
good direction that Mr. Eliot used to give when he was Presi-
dent of the Boston Academy of Music : " Take sufficient time
for the words." " But, sir, it is marked allegro /" " No mat-
ter what it is marked, be it allegro or presto, it is a plain matter
of common-sense, that in vocal music time must be taken to
give appropriate utterance to the words." Common-sense di-
rections are often better than technical directions ; or rather,
perhaps, a little common-sense is necessary to enable one rightly
to apply the technicals. But the Lord shall arise upon thee; here
the crescendo is applied with great effect ; so, also, on the words
His glory, A grand climax was made on the word " Kings."
The accompaniment — ^it was so soft — ^was only the surrounding
atmosphere aided by the violins, and breathing out sympathy
234 BIBMINOHAM FESTIYAL.
to the great subject of song. The people that walked in dark-
ness have seen a great light^ followed in a length and breadth
both of conception and execution truly grand. For unto us a
child is bom, was sung with an extraordinary degree of excel-
lence technically considered. It commenced pianissimo, abso-
lutely so ; and both voices and instruments were kept down to
this softest degree of power, until the violin passages leading to
the word " wonderful," and then in an instant came ybr^mmo. ^
The contrast was very great ; and this was repeated in the sub-
sequent parts of the chorus. Considered as a mere musical
exploit, it was most successful; but it seemed to us to be ob-
tained at a sacrifice of the subject of the song." The sentiment
requires no such sudden transition from soil to loud ; and the
gentle crescendo applied so as to lead gradually to the ' Von-
dkrful" is, we think, in much better taste. The chorus was
finely brought out as it proceeded, presenting the sublime sub-
ject with amazing power, and calling up the response in the
heart, " Even so, ride forth, mighty conqueror, until the enemy
is destroyed, and the whole world is brought under the domin-
ion of the Prince of Peace." During the singing of this chorus
the people stood. The Pastoral Symphony followed, soflly and
gently ; in close legato tones it flowed along, seeming to antici-
pate Peace on earth and good unit to men, Madame Clara No-
vello delivered the succeeding recitatives as well as it is possi-
ble for them to be done ; so perfectly pure is her voice, that one
would suppose it must come from an angel indeed. She pro-
duced a thrilling effect on the words, And they were sore a/raid,
Joy was characteristic of the recitative. And Angels said unto
them, Fear not, (Sec, and this arose to triumph as she came to
the words, Christ the Lord, She dwelt very long upon, and
thus made very emphatic, the word " Christ." Coming within
the compass of her best and most powerful tones, the effect wasi
BntMINGHAH FESTIVAL. 285
most magnificeiit. As the chorus, Ghry to God in the highest,
was oommenced, the people rose and remained standing as in
JFbr unto U8.
We were sorry to see some of the solo singers leave their
places and retire from the Hall at this point. It seemed to say
" we are mere players or performers, having no more interest
in the subject than to do our part." The incongruity was a
little more apparent from the circumstance of the rising of the
vast assembly at the utterance of the words, Qhry to God, &c.
For appearance^ 8 sake, if from no better motive, every singer
should remain in his place throughout the performance. The
song, Eejoice greatly, was sung by Madame Clara Novello ; and
Miss M. Williams followed in the recitative. Then shall the
eyes of the blind be opened. An attempt at expression was made
on the words the dumb shall sing, which we could not approve.
The words " the dumh'^'* were sung in a very subdued manner,
as if to describe dumbness, and the contrast in passing to the
words " shall sing'*^ (Forte) was great. Such attempts to paint
vfords are, almost always, puerile. Sentiments may be ex-
pressed or colored, by musical tones, but not single words. jff<?
shall feed his flock (key of F) was most charmingly sung by the
same artist ; and the close was touching in the highest degree.
Madame Clara Novello, in Come unto him (B flat) was equally
good, that is, perfect. She took the liberty to raise her voice
from F to B flat on the latter part of the word " rest^"* with a
pause just before the final cadence, with good eflect. Her
voice is so perfectly clear on the tone B flat, that one could
hardly believe it to be a material organ. The chorus His yoke
is easy — ^and then an interval of twenty minutes.
Part II. — Listen to the organ ; again those minor chords,
(slowly changing,) speak adoration, penitence, joy, love, grati-
tude ; they fill the soul with a delight which can only be expressed
236 BIKMINGHAH FESTIVAL.
by musical tones. Behold the Lamb of God that taketh away the
sin of the world ; most vividly is he brought up to the mind, by
the legitimate application or reception of Handel's music. Miss
Dolby's " He was despised," was not susceptible of improve-
ment ; the last words, " tcith grief ^^ were uttered with great
tenderness. The chorus, Surely he hath borne our griefi, was
taken in quicker time than it ought to have been ; and the mu-
sic, apart from the words, seemed too much to express the aet
of inflicting stripes, of wounding or bruising, or chastising ; but
in the second movement, the idea of healing, or of deliverance,
was well expressed. All we like sheep, was hurried, yet not
more so than a flock of sheep when they run away in a fright,
if that was the idea intended ; but deliverance from this unhap-
py adaptation came at the passage. The Lord hath laid on
him the iniquity of us all. Recitative, All they that see him, by
Mr. Lockey, was followed by one of the finest choruses in the
oratorio, musically considered, in C minor. He trusted in
God that He would deliver Him — it was sung slowly and with
great firnmess. Mr. Lockey, with his fine voice and perfect un-
derstanding of Handel, sang Thy rebuke hath broken his heart,
and the air, Behold and see if there be any sorrow like unto his
sorrow. The following recitative and song were by Castellan ;
she really did them well ; though quite out of her appropriate
sphere. Lift up your heads went admirably ; if we except the
hissing sibilants, in the words heads and gates ; on which, ac-
cording to the requirements of the rests, the vocal sound was
cut off, but the hissing was continued. This is a common fault
on both shores of the Atlantic. Mr. Lockey sang. Unto which
of the angels said He at any time, and the chorus followed with
great spirit, Let all the Angels of God worship Him, Thou art
gone upon high was omitted ; and the chorus, The Son gave the
word, followed in a slower time than we have often heard it
BIRMINGHAM FESTIVAL. 237
sung ; yet not too slow. How heauUfal are the feei^ dc, by
Madame Castellan, and the admirable chorus, Their sound is
gone out, were well done. The bass air, Why do the nations,
by Mr. Weiss, was not very effective. Belletti sang it in
America ; he did the vocalizing passages with the neatness of a
bassoon, but the style of the song is not adapted to his powers.
I have heard our own Mr. Root sing it in better keeping, per-
haps, than any one else. Signor Tamberlik, took the Recitative
and song, Thou shalt break them with a rod of iron. We heard
his performance of it extolled^ but, notwithstanding his magnifi-
cent voice, we would almost prefer to hear this air played upon
a flute. It was minus almost all appropriate expression — or at
least, so we thought. We need not say that " The Hallelujah
Chorus" was held up in a most perfect light, and seen and felt
of every man. At its close, the President gave a signal for its
repetition, which was immediately answered. The people
stood during the performance of this chorus.
An interval of five minutes, and Madame Clara Novello sang
/ know that my Redeemer liveth. She did it well ; but it did
not come up to our beau ideal of this greatest song of the
Messiah. Since by death, was by four voices, and By man
^ came also the resurrection of the dead, ty full chorus ; the next
two movements were treated in the same way. Herr Formes
delivered the recitative. Behold I tell you a mystery, in a most
masterly manner. " I never knew what recitative was," said
an American gentleman to me, *' until I heard Herr Formes ;"
it is indeed most powerful declamation in his hands. The fol-
lowing song was finely given ; but the trumpet was so finely
played, with sofl and pure tones, and perfect intonation, as to
draw one's attention. The whole song was most charmingly
accompanied by the younger Harper. The several movements
between this and the final chorus were omitted, and the oratorio
238 BIBMINGHAM FESTIVAL.
closed with, " worthy is the lamb that was slain, and hath
REDEEMED US TO OOD BT HIS BLOOD, TO RECEIVE POWER, AND
RICHES, AND WISDOM, AND STRENGTH, AND HONOR, AND GLORY, AND
BLESSING. Blessing and honor, olort and power, be unto
HIM THAT SITTETH UPON THE THRONE, AND UNTO THE LAMB FOR-
EVER AND EVER, AMEN." And what shall we say of the Amen!
words fail ; it is utterly impossible to give anything like a cor-
rect idea of the wonderful manner in which this great chorus
was brought out. It was the grand climax ; unfettered by
words, Handel soars into the spiritual regions of pure emotion
and seems to carry one far beyond the reach of all sublunary
existence. We say Handel soars, yet we do not believe Han-
del himself had any adequate conception of the mighty power
there was in this, and in some of his other choruses. He no
more dreamt of the wonderful effects those choruses would pitv
duce in the course of the prc^ess of music in after ages, than
did Dr. Franklin of the results of his experiments with his kite
in the thunder and lightning ; and the latter would not be more
surprised at the telegraphic communication of these latter days,
than would Handel at the effects of his music at the Birming-
ham ^tival. Where the great Apostle once was, not being
able to tell whether in th^ body or out of the body, there this
wonderful music takes us, and there we are left, until awaken-
ing from the reverie, we look around upon gay colors and
charming faces, hear the rustling of silken dresses, and the hum
of gentle voices, and find that we are still members of the hu-
man &mily, and inhabitants of the planet called Earth.
There is an astonishing rage for the Messiah in England ; it
is al^^ays the great attraction at these festivals. It is beginning
to become popular in America. We remember that a few
years ago, a large Choral Society in an American city, came to
us to ask advice as to what music they should procure. As
BIBMIKOHAM FESTIVAL. 289
Hiej had not got tiie Messiah, we recommended it ; but our re-
commendation was met hj the objection, '^ it is too old-&shion-
ed, it is out of date ;" and, if we remember rightly, Haydn's
SiMLsons was taken; and so they chose a shilling-piece when
they might have had a gold sovereign. A few years after,
they repented, took the Messiah, and hereafter it will be their
most valuable oratorio. Whatever may be the reason, the^^
is certain, that in England the Messiah is vastly more popular
than any other oratorio. The best judges of music, professors
and amateurs, the learned and the unlearned, the noble and the
ignoble, the great and the little, those who ride in proud car-
riages with servants liveried with buff and scarlet, and those
who walk through the rain with a cotton umbrella, the old and
grave, and the young and gay, those who love music, and those
who do not know whether they have any love for it or not ; —
all do homage to this mighty production of Handel. Handel
is the Shakspeare of music ; there has never been but one Han-
del, and it is not at all probable that there will ever be another.
Handel has written but one Messiah, nor could he, had he lived
until this time, have written another. He might have improv-
ed upon this, but another of equal merit, he could not have
produced. This oratorio has been heard for a century, and it
is as fresh and new now as ever ; indeed the more it is heard
the better it is apprectated. This oratorio, too, has done much
for charity ; it has succored the orphan, comforted the widow,
and relieved the distressed. We think, indeed, that men should
be willing, even without the luxury of an oratorio, or the gay-
ety of a- ball, to give their goods to feed the poor ; and it is
truly an expensive charity when one must give five pounds to
get <me into the poor box ; but even in this case we must not
suppose the four pounds to be thrown away ; by no means, it
encourages art and artists ; and the festivals of England do a
240 BIRMINGHAM FESTIVAL.
great work for the improvement and encouragement of musical
knowledge and taste. In America, we need a less expensive
music for the people, as in Germany ; but here, where there is
so much wealth, let the rich give of their abundance, bring to-
gether such an array of talent as can nowhere else on earth be
collected, and let the results tell at once to the improvement of
music, and to the relief of the distressed. But for the Birming-
ham Festival, the Elijah of Mendelssohn would not have been
written ; and HandePs Messiah has turned hundreds of thou-
sands from the coffers of the opulent to the succor of the hun- ,
gry and perishing. J
The amount received at the performance of the Messiah^ this
morning. Was somewhat more than thirteen thousand and
FIVE HUNDRED DOLLARS.
Thursday Evening — Beethoven's 9th. — At half past seven
the house was again filled. The concert was a very attractive
one, and especially so because the Grand Choral Symphony con-
stituted the first part. Solo parts by Madame Clara Novello,
Miss M. Williams, Mr. Sims Reeves and Mr. Weiss ; chorus
by the whole choir. We had never heard this greatest work of
Beethoven, having unfortunately missed it in several places in
Germany. From its great reputation, we were more anxious
to hear this than any other piece annoimced for the festival
The orchestra was in perfect order ; all its members were in
their places, and were fully awake to the task that was before
them. Costa was received with more than an ordinary wel-
come; a little anxiety upon his brow was apparent. He
looked around; every eye was fixed upon the baton; — ^it
moved — ^and the revelations of Beethoven were being made
known to an eager and closely-attentive multitude of listeners.
We are entirely incompetent to give any description of this
BIEMINGHAM FESTIVAL. 241
composition \— firsts because we do not know it, and secondly^
because we have not sufficient musical knowledge to do it.
Suffice it to say, that whatever can be suggested to an awakened
imagination, by the whole range of sounds which the vibrating
atmosphere is capable of producing, or man's perceptive powers
are capable of appreciating, is here brought to view, portrayed^
delineated, exhibited, expressed. Handel has done nothing like
this ; great and unapproachable as he is, here is something in
the world of sounds that is far in advance of anything that he
has left recorded. We believe Handel to have been as great a
genius as Beethoven ; but it was reserved for Beethoven to go
down into the deep, and explore more thoroughly the works of
the Infinite, in this department. God is not yet fully known in
his works ; yet science is gradually revealing him ; and in the
kingdom of sounds, as well as in that of plants, and minerals,
living things, and in surrounding worlds, he is manifesting him-
self in the researches and investigations of him whom he made
in his own image. Beethoven is the great modem revealer of
truth, as it exists in the region o^ sounds. He has extended the
boundaries of science ; and from the combinations and their
successions, he has given to the world new views as to the
variety and power of tones ; so that modem musical science
now rests essentially upon his works. We do not mean to ex-
clude the Bachs, Mozarts, or even Mendelssohns, from the hon-
ored catalogue ; but we only speak of Beethoven in this con-^
nection, and in this point of view, as him who stands pre-emi-
nently great. A gentleman near to us, a- learned musician, and
a distinguished writer on music, who spoke to us of the first
production of the Qioral Symphony in England, said : " It was
long before it could be understood or appreciated, and even now
there are parts of it which are not understood." True, indeed ;
neither are the sun and the moon and the stars understood ; but
11
242 BIRMINGHAM FESTIVAL.
they shed down upon us their light and heat, and give life and
bliss. Our own frame, how little it is understood, but yet it
answers our purpose. Electricity is not understood, and proba-
bly never will be ; yet something of it has be^i revealed by
modem investigations, and we are beginning to know some of
the laws by which it may be made subservient to him who i»
Lord of all below. Who understands the ocean, a tempest, or
the everlasting hills 1 yet these things have great moral power
over man, and may be made to minister to his happiness*
Who comprehends inmiensity and eternity ? But does it fol-
low that, therefore, these may not fill the mind with aspirations
afler the Infinite, the source of all perfection and happiness ?
We may not understand, and yet may derive great pleasure
and good from the musical forms of truth, which Beethoven or
others have discovered. If God can be seen in his works ^
if ideas of beauty and sublimity can bring up any proper con-
ceptions to the imaginations of the good and the true ; then
Beethoven has, in part, lifted the veil ; but yet we may not
fully understand ; Beethoven himself might not have under-
stood his own productions, for even human nature restored^
purified, and raised to its highest degree of intellectual and
moral greatness, can only appreciate in part the wonderful
works of its own creation.
The Choral Symphony is in a key which has wrought won-
ders in the hands of many masters, viz. : D minor. It is divi-
ded into three parts. The first part comprises three move-
ments, viz. :
I — Allegro ma non troppo, un poco maestoto,
II. — Sherzo moUo vivace.
Ill — Adagio molto e eantabile.
BIRMINGHAM FEBTf^AL. 243
The third movement leads to the second or choral part of the
Symphony, as follows :
L — ^Tenop Recitative — " CompaDions 1 be wise."
IL — Solo and chorus, bass — " "Welcome, ye who pine in sadness."
IIL — Quartet — " Sweet content, our hope inviting."
IV. — Quartet and chorus — " Oh I may he whose soul is despairing."
V. — ^Tenor solo, and chorus — " Oh 1 thou bright fire 1"
VI. — Quartet and chorus — " Oh I ye sons of earth T
As we have already intimated, we dare* not attempt any
description of this music. We repeat, we have heard it but
once ; but if we may judge of it by the feelings it produced in
us, then it is certainly to be classed with the most powerful of
all musical compositions. We do not know but, in years past
we may have been as much moved and delighted with music,
and if so, it was at the performance of Handel's Messiah^ in the
same hall in 1837. But this can hardly be regarded as a proper
comparison, since the Messiah is not merely musical, or does
not rest so much on musical power, but brings to its aid the
wonders of man's redemption, as drawn from the divine word ;
it tells of J:he birth, sufferings and death of the Saviour, as t?te
Lamb of God who taketh away the sins of the world ; of the pro-
gress and universal triumph of His kingdom, and of the halle-
lujahs of the redeemed. But if we were as much moved on that
occasion, and in part certainly by music, we did not suppose it
possible ever again to feel its influence in so high a degree.
We were almost foolish enough to suppose that so &r as it re-
lated to our own experience, the powers of the art had been ex-
hausted. Beethoven's 9th reproved us for this folly and unbe-
lief, and carried us away, we know not whither. And not we
alone, for the feelings of the whole audience were aroused, and
such an enthusiam was manifested as we had hardly seen be-
i
244 BQEMIKGHAM FBSTIYAI..
fore. But we bsYe said eocn^ of tins great work, for our
present purpose. We shall bear it ere l<x^ in New Yoik or
Boston; but staj je, who lead in these things, and do not at-
tempt it until orchestra, solo, and diorus are fuU j prepared for
the mighty task of its per£>rniance.
Hie second part of the cono^t was opened hj the overture
to ZampOj by Herold. What a contrast ! Milton and Mother
Goose's melodies are not more unlike ! But jet we do not wish
to disparage the Zampa. It is a nice, comfortable, enliTening,
cheering, animatjng overture indeed ; and the people needed,
by way of change, someihinff whidi contained nothing : and so
they gave them 2^ampa. It was received in good fidth, as it
was given, and called forth shouts of applause. Here is the
programme:
PARTL
Orand Choral Stkhiokt in D nunor, solo parts hf MmL
Clara' Noyello, Miss M. Williams, Mr. Sioas
Beerea, and Mr. Weiss .^ Buthown.
PART IL
OrERmaK. Zampa Herold.
AaiA, Mad Castellan, '* Ah 1 un amore." Fatut 8poht.
Doo, Mad. Yiardot Garcia and Signor Belletti, " Al capricd."
Ultaliani in Algeri. Hoitnni.
Abu, Herr Formes, " In diesen heiligen Hallen. Jl JFfauto
Magico Mozart.
Lied, Mad. Anna 2^rr„ " A StraussU will i" Carl Ifaat,
jyvOf Mad Clara Novello and Mr. Sims Reeyes; " Da quel dl"
Linda. DonigettL
ScDVA, Signor Tamberlik, e Coro, '* O muto asiL Guillavme
TeU Rossini
Ballad, Mies M. Williams, " The Slave GirVs love.** Laud.
Duo, Mad. Castellan e Miss Dolby, " SerbaQii ognor." Semi-
ramide Rossini.
ScNO, Mr. Loekey, " O, give me back." Pascal Bruno ^HaUan,.
BIBMINGHAM FESTIVAL. 245
Hadbioal, CSkorus, " Down in a flow'ry vale." (7. Festa.
Solo, Contra Basso, Signor Bottesiai Botlesini.
Recitative and Aria, Madame Viardot Garcia, "Ah, non
credea mirarti." Sonnambula Bellini.
Duo, Signori Tamberlik e Belletti, " Marinaro in guardia
sta." / Marinari Momni.
Asia, Mad. Clara Novello, " Bell raggia" Semir amide Bomni.
Duo, Mdlle. Bertrandi e JAr, Lockej, '* Bella ninfa." Jessonda Spohr.
RsciTATivs and Air, Mr. Weiss, " When Bacchus invented
the bowV' I^on Quixote « . . .MacFarren,
GiLAND Finale, Signor Belletti, e Coro, "Nube di sangue in-
trisL" Assedio di Corinto « . .Eotntti
We were so completely exhausted by the Symphony, that
we did not mak^many notes of the after performance. Mad.
Viardot Garcia sang twice, and, of course, with deep emotion,
for she never sings without this. Herr Formes gave a perfect
rendering of the popular song in Zauberflote, In dissen heiligen
Hdllen, &q. Mademoiselle Anna Zerr sang a song that remind-
ed us of Jenny Lind's Bird Song, though far inferior in point
of execution. Madame Clara Novello and Mr. Sims Reeves
sang most delightfully a duet by Donizetti. Signor Tamberlik
sent a liirill through the hall by the full, clear and triumphant
manner in which, in chest voice, he went up to C, in the* scene
from William Tell, Miss M. Williams and Miss Dolby sang
charmingly. The old Madrigal, said to be the best composition
of the kind in the world, Down in afiowery vale, was cleverly
done, without accompaniment. Signor Bottesini's contra basso
was truly wonderful.
It was twelve o'clock before the concert was concluded ; and
every one was worn out, save, perhaps, Costa, who seemed as
fresh and vigorous as a son of the morning.
The amount received for this concert was somewhat more
than FIVE THOUSAND DOLLARS.
246 BIBMINGHAIC FESTIVAL.
Friday Morning. — " Samson." — The following, from one of
the books of the Sacred Harmonic Society, sets forth the argu-
ment of the drama :
PART L
Samson, blind and captive to the Philistines, being relieved from his
toil by a festival in honor of Dagon their god, comes forth into the open
air. The priests of Dagon sing in praise of their idol. Samson, bemoan-
ing his condition, is visited by his friends and his father, Manoah, who
join in bewailing his degradation. Samson, acknowledging the justice of
his punishment, predicts that Dagon will not be allowed to triumph over
the God of IsraeL Micah and his friends express a hope that Samson's
prediction may be verified Samson, however, declares his hopes to be
gone, his nature declining, and his life drawing to a dose. Upon which
his friends recount to him the joy and peace that hisiepirit will realize in
the eternal world.
PART II
Micah and the Israelites call upon Gk>d to have pity on Samson. Dalila,
his wife, then appears, and, pretending penitence and submission, entreats
him to go home with her. He refuses to listen to her entreaties ; a scene
of mutual recrimination ensues ; and they separate. His friends assert
the ordained subjection of the wife to the husband. Harapha, a giant nf
Gath, then approaches, attracted by the fame of Samson's might, and
boasts how he would have overcome him had he encountered him before
his captivity. Samson 'dares him to a trial now, which he refuses, and is
taunted by Samson with cowardice. Micah proposes as a test of who is
the Supreme God, that Harapha should call upon Dagon, to try his power
over Samson. The Israelites prostrate themselves before Jehovah, and
supplicate his delivering aid Harapha calls upon Dagon, and the wor-
shippers of that idol appeal to him for succor and protection ; after which
the Israelites and Philistines jointly, but in opposition to each other, cele-
brate the majesty, power, and supremacy of their respective deities.
PART III
Harapha is sent, by the Philistine lords, to bid Samson attend their fes*
tival, to exhibit his strength before them, which at first he refuses to do.
His friends, perplexed for his safety, call upon God for help. Samson,
BIRMINGHAM FESTIVAL. 247
persuaded inwardly that this was from God, yields to go along with Har-
apha, who ooraes agaia with great threateniDgs to fetch him. Samson de-
parts, invokiDg the aid of that Spirit with which he had formerly been
inspired. His friends cheer him on, and declare him to be fulfilling the
call, and under the guidance of Heaven. Manoah returns to tell his
friends his hopes of obtaining Samson's release. The priests of Dagon
are heard to celebrate the praises of their idol for subduing their foe.
Micah and Manoah hear the shouts of joy, and the latter again manifests
his paternal solicitude for Samson. An appalling, loud, and confused
noise is heard, succeeded by wailings and cries for help. An Israelitish
messenger arrives in breathless haste, and relates to the relations and
friends of Samson the fearful news of his having pulled down the Philis-
tine temple, and buried his enemies and himself in its ruins. Micah and
the Israelites lament his falL A Dead March is heard, and his body ap-
proaches on its way to the tomb ; and Manoah and Micah and the Israel-
ites perform the funeral rites.
It is said, that of all Handel's oratorios, this was his ^vorite.
It was written when he was more at leisure than he was when
many of his other works were produced, and after he had estab-
lished his &me as the greatest living composer. It has receiv-
ed additional accompaniments, written after the example of
Mozart, by Mr. Costa.
We will not dwell upon the performance of tlie different
pieces, for we have already written perhaps more upon the
Festival than will be read. The fine overture was admirably
played, and we cannot but think that an overture of this pleas-
ing, melodious character, easily appreciated and always pleas-
ing, would sometimes be attractive at our orchestral concerts in
America. The chorus. Awake the trumpet^s lofty sound^ was
very brilliant. The sublime chorus, first created beam, and
thou great word, Let there be light / and light was over all — was
also given most magnificently. We could not help comparing
(his chorus with the same subject as treated in the Creation, by
248 BIRMDTGHAM FESTIVAL.
Haydn ; and the superiority seems to be most decidedly on the
side of Handel. Haydn merely excites surprise and astonish-
ment ; whereas Handel inspires with the deepest reverence and
awe. Ood said, Let there he light, and there was light ! Haydn
treats it as if he wished to amuse his hearers ; Handel seems
to feel, and to express, the sublime thought. One is like a
child, the other like a man, — one is weak, the other is strong, —
one is small, the other is great
Miss Dolby's " Return, Ood af Hosti'^ was perfectly sat-
isfactory. The chorus, Fixed in his everlasting seat, was taken
slowly, and carried through in steady time, and with tremend-
ous power. Madame Viardot Garcia was encored in the Air,
Ye sons of Israel now lament, and repeated it The chorus,
Weep, Israel, weep a louder strain, was one of the most effee^
tive points in the whole oratorio.
When Handel first wrote Samson, he concluded it with the
chorus—
** Glorious hero, may thy grave
Peace and honor ever have ;
After all thy pains and woes,
Rest eternal, sweet repose."
We think this is a much better close than that which is now
attached to the oratorio, and which Handel wrote ailerwards.
The change is too abrupt ; and we should much prefer to leave
the quiet and gentle emotions produced by the funeral scene,
(full of calm resignation and cheering hope,) unbroken, than to
disturb them, even by the best trumpet song which was ever
written.
" Bring the laurels, bring the bays,
Strew the hearse, and strew the ways,
Glorious hero," may thy grave
Peace and honor ever have ;
After all thy griefs and woea.
Rest eternal, sweet repose."
BIRMINGHAM FESTIVAL. 249
Here, then, we would stop, leaving the grave strewed with
flowers, and the eye of faith fixed on that better land, where
" the wicked cease to trouble, and the weary are at rest." But
it was not so. " Let the bright seraphim," was finely sung.
We are sorry to add, that it was greatly injured by a long ca-
denza, foreign and unmeaning. The final chorus, Lei their celes-
tial concerts all unite, was sung in a very spirited manner ; and
this was the conclusion of the whole matter.
The cast of Samson was a most powerful one ; and we sub-
join the programme, for the gratification of the members of
Sacred Music Societies, and others interested in oratorial per-
formances.
PART I.
Recitatiyb, Mr. Sims Reeves, " This day a solemn feast**
AiE, Madame Clara Novello, " Ye men of Gaza."
Recitative, Mr. Sims Reeves, " Why by an angeL**
Recitative, Miss Dolby and Mr. Sims Reeves, " Matchless in might.*'
Air, Mr. Sifts Reeves, " Total eclipse.**
Recitative, Mr. Weiss and Miss Dolby, " Brethren and men of Dan.'*
AiE, Mr. Weiss, ** Thy glorious deeds.**
Recitative and Air, Mr. Sims Reeves, " Why does the God of Israel
sleep.*'
Recffative, Mr. Weiss and Mr. Sims Reeves, ** 'Pot thee, my dearest ton.**
PART II.
Recitative, Mr. Sims Reeves and Miss Dolby, " My evils hopeless are.*'
Air, Miss Dolby, " Return, O God of Hosts.**
REcrrATFVE, Miss Dolby, Mr. Sims Reeves, and Mad. Clara Novello, ** But
who is this.'*
Recitative, Air, and Chorus, Madame Clara Novello, and Chorns of Fe-
male Voices, " My faith and truth.**
Recitative, Mr. Sims Reeves, " N'e*er think of that.**
Duet, Madame Clara Novello and Mr. Sims Reeves, ** Traitor to love.**
REciTATrvB, Miss Dolby and Mr. Sims Reeves, "She's gone — a serpent
manifeet."
II*
250 BIRMINGHAM FESTIVAL.
Reoitativb, Miss Dolby, Herr Fonnes, and Mr. Sims Reeves, " No wordn
of peace."
Air, Herr Formes, " Honor and arms."
Recitative and Duet, Mr. Sims Reeves and Herr Formes, " Go, baffled
coward, go."
Recitative, Miss Dolby, " Here lies the proof."
Recitative, Herr Formes, " Dagon, arise."
PART IIL
Recitative, Miss H. Williams, Mr. Sims Reeves, and Herr Formes, ** More
trouble is behind."
AiE, Herr Formes, " Presuming slave."
Recitative, Miss M Williams and Mr. Sims Reeves, *' Consider, Samson.**
Recitative, Mr. Sims Reeves, Miss M. Williams, and Herr Formes, " Be
of good courage."
Air, Mr. Sims Reeves, " Thus when the sun."
Recitative and Air, Miss M. Williams, " The Holy One of Israel"
Recitative, Miss M. Williams and Mr. Weiss, " Old Manoah."
Recitative, Mr. Weiss and Miss M. Williams, '* What noise of joy was
that."
Air, Mr. Weiss, " How williog my paternal love."
Recitative, Madame Yiardot Garcia and Mr. Weiss, " Your hopes of his
delivery."
Recitative, Mr. Weiss, " Heaven, what noise."
Recitative, Mad. Yiardot Garcia, Mr. Weiss, and Mr. Williams, " Where
shall I run."
Air, Madame Yiardot Garcia, " Ye sons of Israel"
Chorus, the Solos by Mr. Weiss and Madame Chu'a Novello, ^* Glorious
hero."
Recitative, Mr. Weiss, " Come, no time for lamentation."
Air, Madame Clara Novello, " Let the bright seraphim."
Trumpet Obuoato, Mr. Harper, jr.
The amount received on this last day was upwards of sight
THOUSAND FIVB HUNDRED DOLLARS.
We have given the amounts received in round numbers ; we
BIRMINGHAM: FESTIVAL. 251
suppose some hundreds of dollars, perhaps a thousand, might
safely be added.
HECAFITULATIOX.
Tuesday morning $11,500
Tuesday evening 2. 100
Wednesday morning 8 . 200
Wednesday eveniog 4.800
Thursday morning 13.500
Thursday evening 6 . 000
Friday morning. 8 . 600
Total 153.100
We were not able to learn what were ihe expenses, and
therefore know not how much went to the charity.
There were several things which we intended to say, when
listening to the music, but which we find we have inadvertently
omitted. It was a glorious performance, from beginning to end ;
the world has never seen a better ; and in no place on earth can
such a band and chorus be brought together, except in Birming-
ham. It is understood that arrangements are already in pro-
gress for the next Festival, in September, 1855.
LETTER XLIV.
Funeral Mndcal Perfonnanee»—Mes8iali'— Elijah— Smaller Musical ABsociations— The
Oratorio Societies in London— Exeter Hall— Organ Performance.
London, 1858.
On the week of the great funeral,* the " Sacred Harmonic
Society " gave two public performances, appropriate, on'' the
successivje evenings of Wednesday and Thursday. The selec-
tion was the same on both evenings, as follows :
* Qf the J>uk% of WellingtpQ.
252 HANDEL'S MESSIAH.
Dead March in Saul HandelP
Quartet — His Body is buried in peace Handel,
Chorus — But his name liveth evermore , Handel.
Air — Oh, rest in the Lord (Elijah) Mendelssohn.
Chorale — To thee, Lord ! (St. Paul) Mendelssohn.
Air — Then shall the righteous (Elijah) Mendelssohn.
Chorus — ^Happy aud Blessed (St. Paul) .Mendelssohn.
Quartet and Chorus — Blest are the Departed Spohr.
Part Two embraced the recitatives and choruses composed
for the unfinished oratorio, Christus, by Mendelssohn. And
Part Three consisted of the entire third part of Handel's Mes-
siah.
These performances were intended as a ** tribute to the mem-
ory of the late Duke of Wellington," and the performers ap-
peared m appropriate mourning.
Handel's Messiah was performed three or four times by
different societies at about Christmas time, and it is shortly to
be repeated. Nothing is so popular as this. The societies are
obliged to perform this oratorio, to enable them to perform
others, and to bring out new music. It is said to be the only
paying oratorio, and never fails to draw a full house. All the
singers know it by heart, so that a rehearsal for it is not needed.
Elijah, too, is so well known as not to need rehearsal. It is
often done. We heard it recently by the "London Sacred
Harmonic Society ;" but the orchestra of this society was on
this occasion much inferior to that of either the other societies,
and then the whole performance contrasted much to its disad-
vantage with the grand representation of this oratorio at Bir-
mingham.
In addition to the three great societies, there are freqnent
performances of oratorios by smaller associations in some part
of London. We often see them advertised, but have not been
able to attend them.
MUSICAL SOCIETIES. 258
• There are now three large societies here for the performance
of oratorios and the other smaller works of the great Masters.
They are, " The Sacred Harmonic Society," under the direction
of Mr. Costa; "The London Sacred Harmonic Society," under
the direction of Mr. Surman; and "The Harmonic Union,"
under the direction of Mr. Benedict. The " Sacred Harmonic
Society " is the original or oldest, and dates back to 1832. Mr.
Surman, the present conductor of the " L<Hidon Sacred Harmonic,"
was a leading man in its establishment, and was for many years
its conductor. Some three or four years since, on the choice of
Mr. Costa as conductor, Mr. Surman withdrew, and, in connec-
tion with others, formed a new society, which they called the
" London Sacred Harmonic Society." Each of Uiese societies
commands a large chorus of from six to eight hundred per-
formers ; they each employ the best professional singers for the
solo parts, and also a professional orchestra. They each have
a weekly meeting for rehearsal of such music as they are about
to perform in public. Hiese rehearsals are sometimes under
the direction of the conductor, and at others under that of a cho-
rus-master. The " Sacred Harmcmic Society " usually depend
upon an organ accompaniment at their private meetings ; the
"London Sacred Harmonic Society" have an amateur orchestra,
which plays badly enough on these occasions ; and the " Har-
monic Union " employs the grand piano-forte, sometimes under
the hands of Mr. Benedict, while at others he directs to the
playing of an assistant. I hardly need say that the piano-forte
accompaniment is vastly the best for all the drilling or training
purposes of such meetings. The orchestras employed by the
" Sacred Harmonic Society " and by the " Harmonic Union "
are much the most powerful and efficient, usually numbering
say sixteen double basses, and other instruments in proportion.
These societies all give dieir public performances in Exeter
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254 EXETER HALL.
Hall, and hold their rehearsals in an adjoining room, capable
of accommodating some six or seven hundred persons. This
room contains a small organ often or twelve stops. The large
hall has lately been much altered, enlarged, ornamented, and
improved, so that it is one of the best concert-rooms any where
to be found. It seats comfortably three thousand persons, and
by the aid of extra chairs and standing-places will accommodate
a thousand more ; so that it often contains a company of three
thousand or three thousand five hundred hearers. The organ
has also undergone very thorough repairs, and has been con-
siderably enlarged. It was built by Walker, one of the best
London organ builders, and in its improved state contains a
little less than three thousand pipes. Its compass is from F to
G, or sixty-three pipes. The pneumatic principle has been
applied to this instrument ; so the touch is easy, and the three
rows of keys, when coupled, may be played with but very little
extra power of the finger. The pedal organ has nine stops ;
there are also eight changing or coupling stops. Though not
so large as some, it is very complete, has sufficient power for
the hall, and is well adapted to the wants of the difiTerent
societies. At the reopening of the hall this season, an organ
performance was given, under the direction of the "Sacred
Harmonic Society," by its organist, Mr. J. L. Brownsmith.
This performance commenced at eleven o'clock, A, M., and
consisted of the following selections :
Lift up your heads Handel.
Pastoral Symphony Handel.
Et iucaraatus est Mozart
Coronation Anthem. Atwood
German Hymn .
Dead March in Saul Handel.
Moyement from a Symphony-. Mozart,
{
> ' ENGLISH ORGAN PLAYING. 255
The Old Hundredth Psalm Tune
Minuet (Samson) Aandet
Fugue ■• . Leo
I Angels ever bright and fair , . Handei.
Hallelujah «....,.. Hande*
God save the Queen
Perhaps nothing could more distinctly mark the different
of taste for organ music and style of organ playing betweeL
the Germans and the English than this performance, when com-
pared with the similar organ performances one hears in the
German cities. Here there was not a single organ piece, but
the bill was mostly made up with extracts from the vocal com-
positions of Handel. However beautiful these may be, they
are not adapted to organ playing, or certainly not to the exhi-
bition of the powers of the instrument or the capacity of the
player. Mr. Brownsmith is really an excellent organist, and
) we could not but regret that he should not have done himself
the justice to play some of the great German organ music. But
the public taste must be consulted, and unhappily there is too
often amongst the musical profession a willingness to sacrifice
their own taste, and the opportunity of ministering to the
improvement of that of the public, by the performance of such
I music as will please rather than improve. We could see, too,
by observing the countenances and movements of the company,
that the lightest music pleased the most. For example, no one
piece pleased more than the minuet from Samson. It was very
tastefully and beautifully performed, and with the organist every
one must have been delighted ; so also the music is good in its
plac#— nothing better. But, alas ! that the poor organ should
have to come down from its lofty eminence and be made a
mere imitator of an orchestra. The minuet commanded uni-
versal attention, and the people were pleased. A fugue by Leo
266 BEV. MB. VILLIERS.
followed ; and this afforded them a fine opportunity to express
the gratification they had just received, as the old fuguist had no
turn, turn — I diddle, diddle dum | turn, turn — { diddle, diddle dum,
with which to produce the graceful waving of the head, and
occasionally the foot-movement upon the floor. We are a little
more Germanized in America ; and I can hardly think it pos-
sible that a similar organ exhibition could be made in Boston
or New York in which old Bach would not be heard. There
is a greatness about the oi^an-playing of the Germans that is
not known here. In the church service the difference is very
great. In Grermany we hear the lofty, grand, soul-inspiring
strains of the full organ and of fugue ; whereas in England the
ornamental, gilded, spangled, fringe-trimming style too often
prevails.
LETTER XLV,
Kt 6eoi^*8 Bloomsbtiry— St. PftuPs Cathedral— Dr. WaUs*6 C%apel— IMckle Shop-
John NewtoD.
London, 20th September, 1852.
Bbv. Mb. Villiers, the clergyman of this parish, is not only
a very popular, but a very excellent and evangelical preacher ;
he has a large congregation, and the service throughout, on Sab-
bath last, was highly interesting. Of course the common Epis-
copal liturgy is used. The psalms are read, but at the end of
each psalm, as is very common here, the Gloria Patri is chanted.
The Cantides are chanted ; though this day the '^ Jubilate Deo "
was sung in anthem form by the whde congregation. The
music was very plain, and rather quick ; that is, about as qaidk
as it is convenient to speak the words and observe a distinct
DR. WATTS'S CHAPEL. 257
and solemn utterance. This Congregational anthem singing is
not common, though it is quite practicable. The Canticles were
chanted by the whole people, and quite well done. Cadences
no slower than the utterance of the words on the chanting note.
Both the chanting and the anthem singing this morning afl^rded
sufficient proof of the practicability of these forms of music in
congregations ; but it must be understood that the anthem was,
as we have already said, very plain. We know of but very
few sufficiently plain, contained in our American singing books.
Two metrical psalms were sung, both well done — everybody
taking a part. The oi^an was not very well played ; the organ-
ist seeming rather to adapt himself to choir than to Congrega-
tional singing, and making too much variation of stops and of
piano and forte in different stanzas. The introductory volun-
tary was not more than three minutes in length, and there were
no interludes between the stanzas of the hymns.
At three o'clock we attended service at St. Paul's. Mr.
Goss very kindly gave us a seat in the oi^an lofl — the most
&vorable place for observing the whole service.
In the evening we started to go to the chapel in which Dr.
Watts used to preach, Bury Chapel, St. Mary, Axe. We
looked and looked again, but could find no chapel ; after walk-
ing down and up the street for several times, we found a man
who could give us information, but alas ! it was sad indeed to
hear that the house so long occupied by him whose praise is in
all the churches, and in whose words all the churches sing
praise, is no longer used for public worship, but has been
turned into a pickle shop. We do not know what has become
of the congregation. We then went to St. Mary, Woolworth,
Lombard-street, and attended service in the church where John
Newton used to preach. Here we heard an excellent and
fiiithful sermon. The spirit of Newton, or rather die spirit of
258 KOEWICH FESTIVAL.
the Grospel, is jet manifested -within these walls. The singing
was led by about a dozen charity children; the girls being
dressed as the old ladies of New England used to dress half a
century ago, each having a square handkerchief folded about
the neck, a high white muslin cap, and a white apron. The
chants were plain, and tolerably well done, and so were the
tunes, — all the people singing. The organist played very long
interludes; in several cases the interludes were one qvarter
longer than the tune itself. They were tedious, and in bad
taste; otherwise the oi^an was well played. The exercises
closed with the hymn, " May the grace of Christ our Saviour,"
sung to the tune Sicily, — quite home-like.
LETTER XLVI.
The Norwidi Musical Festival.
LoKDON, September 30, 1852.
Tms, like the Birmingham Festival, is triennial. It was
omitted last year on account of the absence of Mr. Benedict,
its conductor, in America. Previous to the conductorship of
Mr. Benedict, was that of the Gresham professor, Mr. Ed.
Taylor, the friend of Spohr, who was instrumental of the intro-
duction of the great German composer's oratorios into England.
Indeed, Professor Taylor translated and adapted the English
words to several oratorios and other vocal compositions of the
Capellmeister of Cassel. The success of Spohr's oratorios was
represented as having been entirely satisfectory, and we won-
der why the directors of the Norwich Festival who had the
honor of first bringing out these great works, should not^ at
NORWICH FESTIVAL. 259
least, cause one of them to be performed on every Festival oc-
casion. There certainly must be other reasons than those of
musical merit, since at the Festival, the present year, two orig-
inal oratorios (so called) have been performed, which, to say
the least, are vastly inferior to either of those of Spohr. The
love of novelty is undoubtedly one of these reasons ; the an-
nouncement of something new, or to be performed for the first
time, always influences many, even though the newness should
consist in but the name of the thing^ as in the present instance.
The great mass of people really know but little of true musical
merit, even with respect to performance, and still less do they
know of musical composition. Hence, let any ignoramus an-
nounoe a new oratorio, and many wUl run after Mm and pay
their money to listen to something which they suppose to be
very wonderful. It is really astonishing to see the amazing
presumption and self-complacency of some persons assuming
to be oratorio composers. The feet is, there have, as yet, lived
in the world but some two or three persons who have attempted
to compose oratorios whose works have stood the test of time.
That others will be raised up, we have no doubt ; but modesty
becomes a youthful aspirant to the distinction of composer of
an oratorio.
The two new oratorios announced for this Festival were Is-
rael Restored^ by Dr. Wm. R. Bexfield, and Jerusalem^ by Mr.
Henry H. Pierson, and report had spoken so fevorably of both
of these that we felt a desire to go and hear. An engagement
in London, however, prevented our attendance on Wednesday
morning, when " Israel Restored" was performed. If we may
judge by the reports of the musical men we have met, it is
much the better of the two : possessing indeed some good points
find effective pieces, both solos and choruses, yet undeserving,
on the whole, of its dignified name, and sinking quite into in-
260 NOBWICH FESTIVAL.
signifioance by the side of Handel, or the popular writer al-
ready named, whose compositions were produced under the di-
rection of the Gresham Professor.
We arrived at Norwich on Wednesday (four and a-half hours
from London) in early season for the second evening concert.
The performances were given in the St. Andrew's Hall, a large
and convenient room, though greatly inferior in size and gen-
eral arrangement to the Town Hall, Birmingham. The size
of the room is one hundred and twenty-four feet by seventy-
five. The roof is supported by twelve Gothic pillars, six on
each side, which are injurious alike to hearing and seeing. The
orchestra is fitted up at the West end of the Hall, and opposite
to it, or at the East end, is the patron's gallery, occupied by
the Lords and Ladies, or by such persons as choose to pay dou-
ble price for their tickets. In front of the patron's gallery,
stalls or reserved seats were fitted up at fifteen shillings each ;
to the space between these and the orchestra, the tickets were
ten shillings and sixpence ; but as these latter were unreserved
places, it was necessary to be in previous attendcmce for half an
hour or more at the outer door, and then to wait an hour inside
afler having fought one's way to a seat The Hall is orna-
mented with pictures, and contains a very good organ.
The chorus was constituted as follows :
Female Sopranos 41
Boys do 84
—76
Female Alto 6
Men do 47
—62
Tenors « * 60
Basses 67
Total 264
NORWICH FESTIVAL. 261
THX OKOmSSTBA 0ONSI8TXO OF
22 First Violinf, 4 Bassoons,
20 Seoond YioUns, 6 Horus,
18 Altos 4 Trumpets,
11 Violoncellos, 6 Trombones
11 Double BasseS) 2 Ophideides,
4 Flutes. Double Drum,
4 Oboes, Bass Drum,
4 Clarionets, Side Drum.
— ^in all, 119 instruments beside the organ.
TBS SOLO SnceSBS WIBB
Mad. ViARDOT Garcia, Mr. Sims Rbbtu,
Miss Louisa Ptnk, Mr. Lookxt,
Madame Fioabhthix. Signor Bellvtti,
Miss Allbtnx, Herr Fobkss,
Miss DoLBT, Mr. Wiass.
Signor Oabdoni,
IHK XirSTRUVEHTAI. SOLO PXRF0&MXB9
Mods. Sainton and Mr. Blagrovs Violins.
Herr Haosmann Violoncello^
Signor Bottksini ' Double Bass.
Mr. HAaEOOUBT Organist.
Mr. J. F. Hill Chorus Master.
Mr. Bknedioi Conductor.
The number of performers was a little less than at Birming-
ham, but in effect about the same, with the exception of the so-
prano and the alto of the vocal chorus. These were much
inferior. The soprano at Birmingham consisted almost entirely
of the full-grown voices of females, whereas at Norwich, many
of the female voices were quite young ; and then there were
boys enough to spoil almost any soprano. The consequence
was that the soprano was sometimes harsh. The whole efl^t
262 NORWICH FESTIVAL.
of the performance was also greatly marred by the boyish and
girlish conduct witnessed in standing up and sitting down, in
fanning one another with books, in laughing, talking, sending
round papers, and general frivolity, unbecoming at any time
and especially on such an occasion. But it was not strange to
us ; we have witnessed something like it before, both in Sing-
ing Societies and in Church choirs ; showing that in some of
the incidentals of choir life, the English do not differ materially
from the Americans, and that lectures on correctness of deport-
ment in choirs are equally necessary in both countries.
Again, the alto was composed mostly of men's voices. The
effect was a harshness or roughness that has no mercy upon
one's nervous system or musical sensibiHties, and that, in the
present instance, made one oflen curl or shrink away as if a
severe blow had been inflicted ; besides, in pressing up to the
high tones, the men did not all quite reach the point; making
altogether too much of that which the organ-tuners call " wolf"
— ^a name applicable as well to quality of lone (howling) in this
case as to intonation. With these exceptions (and they are
important ones) the vocal chorus was highly effective. Mr.
Benedict is a fine conductor, as is well known on both sides of
the Atlantic, and he seemed to do his utmost (and with great
success) to secure the proper results. We had the pleasure of
meeting him ; he seemed to be delighted to be reminded of
his American tour, and spoke of kind treatment received, and
endearing friendships formed. Both Benedict and Belletti
looked like home, and brought up to the imagination Castle
Garden, Tripler Hall, and Tremont Temple ; but in vain we
looked around for Jknnt — ^she was not there ; nor was there
any one who could supply her place. We had, in another de-
partment, the ViAKDOT ; but she belongs to a different school.
The following was the programme for Tuesday evening :
NOBWICH FESTIVAL. 268
PART L
SELECTIONS FROM THE WORKS OF CLASSICAL COMPOSERS.
Overture. Oberon C. M. Von Weber,
National Anthem, ** God saye the Queen." Bj the principal
singers and chorus.
QniNTETTo, " Sento o Die." Miss Louisa Pjne, Miss Alleyne,
Signor Belletti, Mr. Lockey, and Mr. Weiss. Cosi fan tutte,. Mozart.
Aria, " Ah rendimi quel cor.'* Miss Dolby Francesco Rossi (1686).
Song, " Fairer the meads are growing." Mr. Lockey Mendelssohn,
Arla, ** Ha, wie will ich triumphiren." Herr Formes, DieEnt-
fuhrung aus dem Serail ,Mozart,
BnETTo, " Bella ninfa." Miss Louisa Pyne and Sig. Ghirdoni.
Jessonda 8pokr,
ScENA with Chorus, " Chi mai dell Erebo." Madame Yiardot
Garcia. Orfeo Gluck,
Aria, Mr. Sims Reeves. " Adelaide." Pianoforte, Mr. Benedict.. ^^^^^Aoven.
Serenade, *' Deh vieni alia finestra." Sig. Belletti. Don Giovanni.. Mozart,
Air and Variations, Double Bass. Sig. Bottesini Bottesini,
Quartet (unaccompanied), " Dors en paix." Sig. Gardoni, Mr.
Lockey, Sig. Belletti, and Mr. Weiss CM, Von Weber,
Spanish Songs, accompanied by herself on the Pianoforte. Mad-
ame Viardot Garcia.
Quartet and Chorus, " Alziam gli evviva." Miss Louisa Pyne,
Miss Dolby, Mr. Sims Reeves, and Herr Formes. " Eu-
ryanthe." Weber,
PART IL
Shakspears's Plat of "A Midsummer Night's Dream," with the
incidental music, composed by Felix Mendelssohn Bartholdy,
Read by Mrs. Fannt Kemblb.
Overture. Scherzo. Fairt Marc^
Duett with Chorus, " Ye spotted snakes." Miss Louisa Pyne
and Miss AUeyne.
Interlude. Notturno. Wedding March.
Finale and Chorus, " Thro' this house."
264 NORWICH FESTIVAL.
Report speaks highly of the musical performances, and es-
pecially of the singing of Madame Viatdot. One of the papers
spoke of her in the following terms : " In Madame Viardot we
have art perfected by the highest intelligence and the deepest
sensibility, affording an example not of the power which takes
an audience by storm, and at once lifts itself to the very pin-
nacle of fame, but of that intrinsic excellence which, gradually
increasing its power over the public, at length reaches the sum-
mit, and when there renders itself hourly more stable by its
own strength. This is the position and the claim of Madame
Viardot Garcia." The reading of the play, even by Mrs. Fanny
Kemble, was regarded as out of place ; and not even the artistic
excellence of the reader, and the attractiveness of Mendelssohn's
music, could hold the audience, who were evidently fatigued
and impatient for rest. '' The general feeling was that it ought
to have been the first act, and that the musical selections should
have been shortened."
We have already alluded to the Wednesday Morning's per-
formance, the Oratorio of " Israel Restored" by Dr. Bexfield.
We extract from the programme the following argument : —
" The overture (a sort of index to the work) having been performed,
the first part contains the prophecies concerning the Israelitish nation,
which are followed by God's awful threats and punishments for their
disobedience and unbelief. At their scattered and desolate condition, * all
her people sigh I' They pray that God will ' make their way plain,' and
that their prayers may ' enter his presence.' The prophecies are then
gradually developed. Israel is to * return and be at rest,' and * God will
wipe away all tears from their eyes.' The Israelites become a happier
race; they gather themselves together and sing, 'Blessed is he that
cometh in the name of the Lord,' acknowledging Him as their ' Father and
Redeemer.' The great end is then accomplished ; — Israel being restored
in ' pea«e and glory' to their ' own land,' ' break forth into joy,' and exclaim
" Marvellous are thy works, Lord God, Hallelujah I Amen.' "
)
I
1
(
NORWICH FESTIVAL. 265
At the close of the oratorio the following pieces firom Samson
were performed by order of the Committee of Arrangements,
as a tribute of respect to the memory of the Duke of Well-
ington : —
SOLO — ^Madame Yiabdot Garcia.
" Ye 8008 of Israel, now lament^
Your spear is broke, your bow unbent^
Your glory's fled —
Among the dead
Our hero lies.
Forever dosed his eyes."
DEAD MARCH.— Chorus.
" Glorious hero, may thy graye
Peace and honor ever have:
After all thy pains and woes,
Rest eternal, sweet repose."
^'The simple solenmity, beauty, and pathos of the lament, by
Madame Viardot,'^ says an able critic, ^ surpassed all we can
recall to mind. It was indeed the singing of the great artist —
a great mind. To describe it would be impossible — ^but there
was a holy inspiration in the union of sound and sense — a sim-
ple grandeur in the style which silently stole its way into every
breast, for which tears came to their relief" Madame Viardot
sang this same air of deepest pathos in the regular course of
the oratorio of Samson at Birmingham. It was then given with
very great power, and we can easily imagine that, affected, as
she must have been on the present occasion, by the recollection
of the recent death of the illustrious Duke, and by the circum-
stances under which she sang, she must have thrown into it a
degree of feeling seldom witnessed. Suppose now, that on this
occasion, the Trumpet Song, and the chorus, '* Let their celestial
12
266 KORWICH FESTIVAL;
concerts all unite," had been added ! Every child in the rc^om
would have been struck with the bad adaptation, and the extreme
inappropriateness of the music/ Carry ourselves back as near
to Samson as we are now to Wellington, and we think we have
an illustration of the remarks made in our communication on
the Birmingham Festival, in relation to the close of the Ofatotio
of Samson,
Our first attendance at Norwich was at the second (Wednes-
day) evening performance. The following is the programme :
PART I.
Pastorale Sinfonia Beethoverti
Duett, " Folg dem Freunde rait Vertrauen," Madame Viardot
Garcia and Herr Formes. Faust Spohr.
Recitative and Abia, *• Cbi per pieta mi dice." *' Deh ! parlate
che forse tacendo," Madame Fiorentini. II aacri-
ficio d'Abramo. .....<.<.. j ; Cimaroaa.
SoENA and Aia, *'Soft airs around me play," Mr. Sims Reeves.
Euryanthe C. M. v. Weber,
Vaeiations, " Ah ! je veux briser ma chaine," Miss Louisa
Pyne. Lea Diamanta de la Gouronne. Atiher.
.Terzetto, "Tremate, empi tremate," Madame Fiorentini, Sig-
uor Gardoni, and Signor Belletti. Beethoven.
Air, " I am a roamer bold and gay," Mr.. Weiss. Son and
Stranger Mendelssohn,
Aria, "Oh cara immagine," Signor Gardoni. Flauto Magico Mozart.
Aria, "Nobil Signof," Miss Dolby. Les Huguenots Meyerbeer.
Conoertante for four violinsj Messrs. Sainton, Blngrove, Day,
and Cooper Maurer.
ScENA and Aria, "Nacqui all' affanno." "Non piu mesta,"
Madame Viardot Garcia. Cenerentola Roaaini,
Aria, with Chorus, " Possenti Numi," Herr Formes. Flauto
Magico Mozart,
NORWICH FESTIVAL. 267
PART II.— MISCELLANEOUS. ' '
Srlrctions from TJte Idinneasifiger , Benedict.
(First time of performance.)
OVERTURK.
RoMANCK, " As weeping on my breast she lay," Mr. Sims Reeves.
Hunting Chords, " To the chase **
Ballad, " My home is in the peasant cot." Miss Louisa Pyne.
Song, " O give me back," Mr. Lockey. Pascal Bruno ffatton.
Aria, "Havvi un Dio," Madame Fiorentini. Maria de Rohan. » .Donizetti.
Quintet, " Pour les attraits," Madame Viardot Garcia, Miss
Louisa Pyne, Miss Dolby, Signor Gardonl, and Mr.
Weiss. Marie Stuart Niederrneyer,
Barcarola, " Sulla poppa del mio brik," Signor BellettL La
prigione iVEdinhurgo , Hied.
Song, "0 bid your faithful Ariel," Miss Alley ne. The Tempest. . « .Linley.
Glee, "Blow gentle gales," Miss Louisa Pyne, Miss Dolby,
Messrs. Sims Reeves, Lockey, and Weiss Bishop.
Coronation March. Le Prophete Meyerheef.
The house was well filled though not crowded. Mr. Benedict
met with a flattering reception on his entrance, as he did at
every performance. The conductor is looked upon here, not as
a mere time-beater, but as the responsible agent, an embodied
representation of the whole corps ; to him the performers look
for safe conduct, and to him the audience look for satisfactory-
results. He is cheered when he comes in, and this inspires him
and all who depend upon his baton with confidence, and is very-
likely to insure, at least, a good beginning. The Pastoral
Symphony by Beethoven, one of his most picturesque and
beautiful productions, was perl^ly rende]:ed throughout. The
sofb coloring of the pastoral -scene, the singing of the happy
birds, the dance of the rustics, the thunder and the tempest-^
'* At first heard solemn o*er the verge of heaven,**
and afterwards when the storm was over ; when
268 KORWIOH FESTIVAL*
"Thro* the lightened air
A higher luatre and a dearw calm^
Difiusiye tremble.**
and
" Nature stands revived" —
All seemed to say, the ideal of the immottal composer is real-
ized, the spirit of Beethoven is here; —
** Tis beauty all, and grateful song around.^
The village dance and the storm especially chained the atten-
tion, and the audience listened with unmingled delight So it
is when Sontag or Jenny Lind pours out her enchanting strains,
filling the mind with lively forms of beauty, and the heart with
joy and gladness. The influence of our Musical Fund Societies,
or such societies as are engaged in bringing out the grand sym-
phonies of Mozart and Beethoven, is most important to musical
progress and taste. Concerts where music of this description
is performed, by such competent bands as we now have in New
York and Boston, and I suppose in/ other more southern cities
also, are schools of taste, which every one ought to attend.
Parents ought to take their children to these concerts, and let
them, while young, form a taste for music so pure and truthful,
and thus prevent the evil, so extensive, that results from an
acquaintance more easily formed with coarser strains too oflen
found on handsomely-engraved sheets, with vignette ornamental.
There is music enough indeed to vitiate taste ; it is found in the
domestic circle, in the concert-room, and in church; and the
work of corrupting is much easier than that of elevating and
refining a relish for good music, considered either with respect
to its intellectual or its aesthetic influences. Success then to
those societies, by whatever name they are called, whose object
it is to bring out the great works of which we speak, which are
NQBWIGH FESnYAIi. 269
at once a school and the highest standard of muacal excellence.
Every one who loves music, nay, every one who loves his
fellow-man, and desires to promote the cause of general culti-
vation and civilization, ought to patronize these societies.' Let
their season tickets all be taken, and at a price, too, which shall
at once enable them to bestow the labor requisite for bringing
out these works in a proper style, and also to live, at least from
hand to mouth, while they do it Public bene&ctors must not
usually expect large pecuniary reward, but why should the
musidan receive less than the least of all others ! We have
got away ifrom our subject, but we are glad of it, for we have
happened to touch one of much practical importance to music's
best influences.
The Duet from Faust -was diarmingly done, yet Herr Formes
should have had a little compassion on his fiur colleague, for his
voice was too powerful for that of the Viardot. Madame Fio-
rentini is a brilliant soprano, and is indeed a fine singer, but is
inferior to the two who outrival all others in the style in which
she sings. The song by 0. Von Weber, Soft airs around me
play, a song in which Mr. Sims Beeves excels, was done in his
very best style. Miss Louisa Pyne did herself great credit
and charmed an attentive audience with the neatness and pre-
cision (almost Belletti-like) with which she sang the very diffi-
cult variations by Auber. A most animated and humorous
song is tliat of the Pedlar, from a comic operetta by Mendels-
sohn, llie Son and Stranger, Mr. Weiss' performance of it
was irresistible, and a unanimous encore followed. The four
violinists in the very brilliant Concertante drew forth immense
applause. It is a fine concert piece of the lighter kind, and can
never &il to please if well done. Madame Viardot Grarcia was
encored, as she deserved to be, in the Aria from Cenerentola,
and Herr Formes concluded the first part of the concert by as
270 NORWICH FESTIVAL.
perfect a singing of the well-known air from Mozart as is pos-
sible to human organs. Majestic, dignified, and deliberate —
who but Formes could give it thus ? In the second part sev-
eral pieces were introduced from an unpublished opera by
Mr. Benedict, entitled the Minnesinger. First, the Overture,
which was finely played by the magnificent band, and drew
forth mudi applause. Then followed the song by Mr. Reeves,
the hunting chorus. To the chase, and the most pleasant ballad.
My home is in the peasant cot : the manner in which this music
was received must have been highly gratifying to the composer
and conductor, for it manifestly gave great delight. Mr. Bel-
letti's performance of the Barcarola, Sulla poppa del mio brik,
was not surpassed by anything during the concert, or indeed
during the Festival. He has the most perfect command of his
instrument, and his performances are spirited and effective in
the highest degree. There are better voices than his, but in-
deed there is no better singer than Signor Belletti. The en-
core which followed this song, was given with a decision not to
be misunderstood. The Coronation March, Meyerbeer, was
played in a most spirited manner ; and performei's and hearers,
^tigued with the day's work, went home to seek for
*' Tired Nature's sweet restorer."
Thursday. — ^It was a charming morning ; the sun shone out
pleasantly, and it was neither too hot nor too cold. We took
a little walk round this old town before the Concert time.
Many of its streets are very narrow, only wide enough for a
single carriage, having sidewalks also so narrow that two per-
sons cannot walk abreast. By mere accident we happened to
call in- at the Book or Stationery Store of Mr. Bacon, formerly
the Editor of the Quarterly Musical Review, ten or twelve
NORWICH FESTIVAL, 271
volumes of which were completed about sixteen years ago,
when the work ceased with the Editor's life. It was the most
able musical review ever published in England, and it is now
very difficult to procure a copy. Bacon's " Vocal Elements,"
is also a very valuable work, well known here, though never re-
printed in America. The establishment is now carried on by
his son, who is also an able musical critic, and occasionally
writes for some of the London papers.
The Hall was well filled this morning ; the new Oratorio,
" Jerusalem," was the more attractive from the fact that its
author is well known, having resided here, as we were told, for
some time past, attending the rehearsals and making the neces-
sary preparation for the production of his work. Mr. Pierson
is an Englishman, although he has heretofore assumed a German
name as an author, having published several things under the
name of Mansfeldt, and especially an opera at Hamburg. We
have known of such things in our own country — ^that is, the
publishing Tinder an assumed name, for the apparent purpose
of obtaining popularity, but it is an attempt at deception, and
is dishonest. Let a man, if he pleases, publish anonymously,
or assume a name that everybody knows to be assumed, (like
Peter Parley^ for example,) but let him not take a name for the
purpose of leading the public to suppose that his own composi-
tions are the productions of some great man, whose name is too
difficult to be pronounced. Mr. Pierson was appointed pro-
fessor of music in the University of Edinburgh, but resigned in
consequence of some difficulties, after holding the office only for
a short time. He is a clever musician, though not equal to the
task he has undertaken. We have not seen the score of Jerti-
galem^ and only judge of it by a single hearing. It is very
difficult both in its vocal and instrumental parts, but to us it
fleemed to be without form and void, and darkness rested upon
272 NORWICH FESTIVAL.
the face of it throughout. We copy from the programme the
followmg argument :
PART I.
Introduction of prologue. Christ foretells the destruction of Jerusalena.
The crucifixion. Prophecy of Moses concerning the invasion and conquest
of Judea by the Romans. Prophetic warnings and denunciations, chiefly
from Isaiah and Jeremiah. The fall of Jerusalem depicted.
PART II.
The destruction lamented, the restoration promised.
PART IIL
Prophecies concerning the recall of the Jews from all countries where
they are now living in a state of exile. The great battle of Armegged-
don (in " the valley of Decision"), which will end in the total defeat of
the armies attacking Jerusalem.
"The new Jerusalem. The last Judgment The salvation of the
righteous. Doxology."
The introduction or prol<^e is preceded by an overture con-
sisting of a Maestoso Larghetto minor movement, an allegro,
and a repetition of a part of the first movement, with difierent
treatment. But it is not like an overture; it is constantly
promising, but it never performs ; bold in modulation, beauti-
ful, occasionally, in instrumentation, it seems to be destitute of
plan or design — except, indeed, it be the design of not having
any plan, or of being different from any one else. The drums
and trumpets may tell of the exposure and danger of the
favored city, or of coming war, but beyond this we could not
interpret, and the whole overture seemed to be dry and unin-
teresting. The introduction commences with an Arioso, " And
Jesus said. Daughters of Jerusalem, weep not for me," &c. ;
which was well sung by the excellent tenor, Mr. Lockey ; but
he seemed like one wandering about in dai'kness, not knowing
NORWICH FESTIVAL. 273
whither he was going. Afber the lament of the Saviour over
Jerusalem, '' O Jerusalem ! if thou hadst known it," we have
a short ckorus-redtative *' And Moses spake unto all Israel," &c.
We do not know how the leader of Israel came in here, but as
Mr. Pierson seems to set at defiance all laws of rhythm^ so for
aught we know, he may treat ehronoloffy in a similar way. The
introduction closes by an Aria, sung by Herr Formes, ^ The
Lord shall bring a nation against thee from &r," &o., parts of
which are certainly fine, but there is a want of relation, or con-
sistency, or decision of character, deeply felt throughout. Part
I. commences with a Bectt^Arioto^ fragmentary and unsatis-
&ctory ; this leads to a chorus, '' How shall I pardon thee for
this, O Jerusalem ?" A bird does not more depend upon its
wings in flight, or a fish upon its fins fi>r a propelling power,
than our author does upon the orchestra for effect. He does
not try to do much with the voices ; indeed a large part of the
oratorio cannot be regarded as vocal music. We do not intend
to intimate that, as a general thing, the author aims at any definite
effect^ for all is so vague, and wandering, that he cannot be thus
charged. A terzetto follows for three female voices, "Cry
aloud, spare not, lift up thy voice like a trumpet," — a trumpet
blast, of course, must be blown ; and although we did not like
the introduction of the trumpet into this trio, yet we did like
the manner in which the instrument was, and is ever, blown by
Mr. Harper, jr., who always seems to do that which he intends.
A chorus follows, " The Lord saith," &c., in some parts very
difiicult, (difficulties abound in Mr. P.'s music,) but in no place
very good. An attempt at imitation on the words "I will
scatter them," by difficult chromatic harmonies and modulations,
but in which there was no scattering, unless it were in the per-
formance of the music, brought to our minds by contrast, some
of Handel's scatterings, in which, without resorting to chro-
12»
274 NORWICH FESTIVAL.
matics, he by the plain diatonic scale perfonns the work to
admiration, so that not a man of them is left. An air to the
words, " Of the rock that begat thee," is very pleasant, it
has some connection and form, and was charmingly sung by
Madame Viardot Garcia.
In the succeeding Aria^ our author wanders again in imcer-
tainty. A piece representing the " March of the Roman army
against Jerusalem" is feeble and ineffective. An air, "Blow ye
the trumpet in Zion, and sound an alarm in my holy moun
tain," is much inferior to Jackson's setting of the same words.
A chorus is introduced to the words, " Arise, and let us go by
night, let us destroy her palaces ;" in which there is an absence
of all that dramatic character so necessary. How Mendelssohn
would have set these words ! When we listened to this chorus,
amidst all the uncertainty and vagueness of the music, we
thought of the answer of the youth whom Elijah sends to look
out for rain, to the question, " Is there anything," &c. " No,
nothing." Mr. P. has produced a very martial effect (never
very difficult to do) upon the words, " I swear by myself, saith
the Lord ;" but unfortunately it is entirely out of place. What
can be more awfully solemn than the thought of God's swear-
ing by himself I Surely, if the music should express the emo-
tions which the thought naturally excites, it must be slow, delib-
erate, and perhaps soft. This is not the only place in which
the true feeling to be expressed seems to have been entirely
misapprehended by our author. In the second part of the ora-
torio, the music to the words, " Because of the mountain of the
Lord, which is desolate," would be better adapted to " Behold
the mountain of the Lord, it is beautiful." A chorus, " O God,
the heathen are come into thine inheritance," opens well ; it is
somewhat like Mendelssohn, and affords quite a relief; but it
soon changes from Mendelssohn to Pierson, and the mountain
NORWICH FESTIVAL. 275
becomes desolate indeed. In an Arioso which was sung by
Madame Viardot, but which all her powers of performance
could not render effective, the composer seems wholly to have
mistaken the feeling to be expressed. The words are, " O Israel,
thou hast destroyed thyself, but in me is thine help." Here,
instead of expressing pity, compassion, or, of mourning over
Israel, he has made the orchestral instruments to scold in blasts
most inappropriate and offensive. A good chorus follows ; in
the latter part of which, to the words, "Break forth into joy,"
are some fine instrumental passages ; but here again the opeiv-
tng of the graves has been depicted by a convulsive effort of
the double drums, " When shall the Lord go forth," in the
third part, is a spirited and good chorus.
There is a Hallelujah chorus, Alleluia, for the Lord God Om-
nipotent reiffneth. This the Bishop ordered to a second singing,
probably for the reason that Handel's Hallelujah is so popular.
Surely, it could not have been because there is any merit in the
piece encored. An air, by Madame Viardot, to the words,
Ood shall wipe away all tears from their eyes, was the most pop-
ular piece in the Oratorio ; it was charmingly done, and was
universally demanded a second time. Soft and gentle, it afford-
ed a delightful relief from the continual trumpet blasts with
which the Oratorio aboimds. But in the succeeding Aria, the
^rass instruments are well employed on the words The sea gave
up their dead, &c. A chorus follows this, after the manner of
Mendelssohn's chorales in Paul and Elijah ; but instead of a
grand and dignified chorale, the author has introduced a very
feeble tune, composed by Dr. Madan, called Hehnsley, and pub-
lished in many singing books. We were surprised that such a
hackneyed piece should have been chosen, in preference to a
good chorale, of which there are many. Mr. P. has arranged
it, however, (instrumented it,) exceedingly well. During the
276 NOEWIOH FESTIVAL.
performance of this long oratorio, (upwards of four hours,) we
often thought of a simile we once heard used by Hon. Horace
Mann, when Secretary of the Board of Education, Massachu-
setts, by which he described some public address he had recent-
ly heard. " It was," said he, " like a nest of paper-boxes. We
take up the nest ; it feels heavy, and we suppose it contains
something valuable. We open it carefully,. but find another
box. We now look with greater eagerness to ascertain the
contents, and proceed to open the second, when we find only a
third box; so we go on from box to box, with continually
raised expectations, until we come to the last box, open it, and
behold there is nothing there !" There are, however, several
fine pieces in the oratorio, some of which we have mentioned ;
but as a whole, we can hardly conceive of a greater failure. It
is surprising that the directors of the Festival should have ad-
mitted into their programme an oratorio so nearly destitute of
merit. Many English oratorios have been produced ; no one
so great perhaps as Palestine by Dr. Crotch, but yet, not even
this ever attained any considerable degree of popularity. They
are bom, speak once or twice perhaps, then die, are buried, and
soon forgotten.
Third Evening Concert. — ^Thursday Evening. — ^The con-
cert commenced with Mozart's Symphony in E flat ; and the
contrast between this music and that of the morning was suffi-
ciently great. It was a pleasing change, indeed, to listen to the
simple, natural strains of the great master ; and every one ap-
peared to be delighted. After the symphony, Mr. Sims Reeves
sang a song, a tribute of respect to the memory of the late
Duke of Wellington. Music by Mr. G. A. Macfarren. We
enclose the words, thinking they may be interesting to your
readers :
NOBWICH FESTIYAL. 277
THE DEATH Or WKLLINOTON.
Gloomy and dim the eyeDtfiil morning broke.
Destined by Fate to crush a tyrant yoke ;
The adverse ranks with martial ardor glow,
And pant to yiew the sig^nal flag mifurVd ;
The rival chiefs prepare to strike the blow —
France for an Empire I — Britain for the world I
Fierce was the jSght : the legions scorned to yield :
Conquest long hoyer'd o*er the field,
IJnfix*d to whom 'twas due ; —
While dauntless hearts, the nation's pride,
For Britun bled — ^for Britain died —
Round Wellington at Waterloo.
- At length the foe, in prowess quite outdone,
Despairing fled.
And Glory shone out with radiant hue.
'* Cheerly, my hearts I your ranks enlarge
Victory smiles — ^the charge I the charge 1"
Cried Wellington at Waterloo.
Now, mourning o'er her fallen Hero's bier,
Grateful Britannia drops a tear.
And counts his deeds anew.
From pole to pole his praises ring,
And angels yet unborn shall sing
Of Wellington at Waterloo.
After the song, the pieces mentioned in the following pro-
gramme urere performed :
PART L
Duetto, Madame Yiardot and Herr Formes. Fidelio Beetkmmi.
Romance, " Yanne," Madame Fiorentini Meyerbeer.
Aria, " Fra poco," Mr. Sims Reeyes Donizetti
Tebzetto, " lo diro se nel gestire," Mad. Yiardot Garcia, Miss
Louisa Fyne, and Signer Belletti Fufravanti
278 NOBWICH FESTIVAL.
SoNO, " Der "Wanderer,** Herr Formes Schubert.
Rom ANCB, " Oh, mon file,'* Madame Viardot Meyerbeer,
CoNCERTANTE, violoDcello and double-bass, Herr Hausmann and
Signor BottesinL
RoMANZA, " II Pescatore," Signor Gardoni Donizetti.
Part-Song, " The wreath" , Benedict.
Duetto, Madame Fiorentini and Mr. Sims Reeves. Emani Verdi.
Song, " When midnight's darkest veil," Mr. Locke j ; corno ob-
ligato, Mr. C. Harper Lachner.
Air, " By the rivers of Babylon," Miss Dolby 8. Waley.
Finale, Miss L. Pyue, and chorus^ Lorely Mendelssohn,
PART II.
Overture, " Faniska" Cheruhini.
Air, "Bravo, bravo, il mio Belcore," Signor Belletti Donizetti.
Madrigal — Soog, " A poor simple maiden," Miss L. Pyne. Bal-
lad, *' Nan of Battersea," Mr. Weiss. Charles IL Maefarren.
Trio, Miss L. Pyne, Miss Alleyne, and Mr. Lockey. Don Gio-
vanni Mozart.
Serenade, '* Yotmg Agnes," Mr. Sims Reeves Auber.
Scotch Song, " Bonnie Dundee," Miss Dolby.
Duetto, " Che vuoi di piu," Madame Viardot Garcia and Signor
Gardoni Donizetti.
Aria Espanola, ** La calesera," Madame Fiorentini.
Grand March. Camp of Silesia Meyerbeer.
This was throughout a very pleasing concert, though too long.
The Terzetto by Madame Viardot, Miss Pyne, and Mr. Belletti,
called forth the most enthusiastic applause. It could not have
been better done. Schubert's Wanderer was sung to perfection
by Herr Formes. These and others were demanded a second
time. But the most attractive piece was theJiTiale to Mendels-
sohn's opera, Lorely. This improves amazingly on a second
hearing. We were much more pleased with it than when we
heard it at Birmingham. The performance of it was very
spirited, and did great credit to band, choir, and conductor. It
NORWICH FESTIVAL. 279
was warmly applauded. But as we are in danger of too long
a communication, we will only add, that the large company
were held together from eight to twelve without restlessness,
or the indication of impatience or fatigue.
Friday Morningh— " The Messiah." — ^It was very pleasing
to us to have an opportunity of listening to this great oratorio
of Handel twice in such close connection, performed as it was
on both occasions (Birmingham and Norwich) by those who
were so competent to do it justice. The popularity of this ora-
torio is wonderfully great. An hour previous to the time ap-
pointed for the commencement every seat and every standing-
place, (with the exception of some of the reserved seats to
which the occupants did not hasten at so early an hour,) was oc-
cupied. So full was the hall, that many men climbed up and
obtained standing-room in recesses of the windows nearly at the
top of the building outside. The hall presented a most splendid
appearance. To what shall be attributed this great popularity
of the Messiah ? It is performed at every festival and never
fails to sell every ticket. Can it be that it is because it is fully
appreciated ? Is it to be attributed to its musical excellence,
to its religious character, or to fashion.? Probably in part to
each. It has been performed so much that it is better under-
stood than any similar music ; besides, Handel's music meets
the wants of all classes ;. the learned and the unlearned are
alike gratified in its performance ; those who have made the
greatest progress in art and science find enough in Handel to
fill their minds and to draw out their feelings ; and^ like the
poetry of Shakspeare, it so delineates human nature, or is so
conformed to it, and is so common-sense-like in its character, that
it can hardly fail to be appreciated even by a child. Handel is
natural, always so, and his music is adapted to all classes of
280 NORWICH FESTIVAL.
people. Many, no doubt, are influenced by the religious
character of the Messiah, To the religious man, this oratorio
must be religious in its influences ; it falls in well with the gen-
eral religious education, training, or habits of the English, es-
pecially of church-men, and the text (all from King James'
Bible) is regarded as not inferior to the Prayer Book itself.
Then there is the influence of habit, which has been handed
down and grown stronger from generation to generation.
Fathers tell their sons of Handel's Messiah with a kind of re-
ligious, national pride. Children are taught to regard it as the
greatest musical production the world has ever seen ; it is also
English, for although Handel was a German by birth, yet he
became an Englishman by adoption, and produced all his great
works here. It is the fiishion also to hear it and to like it.
Everybody must hear it, and everybody must like it. Nor is
a single hearing sufficient ; it must be heard from year to year,
or as opportunity may occur, and of course the more it is heard
the more it is admired, as is the case with every work which is
at once based upon truly scientific principles, and adapted to the
truth or nature of man.
Mr. Benedict took his place two or three minutes before the
appointed time of commencement ; he was received with a
cheering welcome, both from the audience and from the perform-
ers — ^an indication that all is right, that good feeling abounds,
and that a good result may be looked for. With what majesty
and dignity the overture comm^aced ! Every man in the or-
chestra did his duty, and the effect was much heightened by the
Ml diapasons of the organ, and especially by the sub-bass. The
oi^an was not permitted in Birmingham, but it was a great mis-
take. It gives a Mlness to the harmony, and is from associa-
tion peculiarly religious in its character. It would not be ap-
propriate in Covent Garden, at Her Majesty's Theatre, or on
NORWICH FESTIVAL. 281
any operatic performance ; but it is well fitted for such an ao-
casion as this, and Mr. Benedict was right in the application he
made of its powers, Twenty-two violins led off the fugue ;
these were answered by the different stringed instruments in
their turn, all moving with as much certainty and precision, as
do the planets in their revolutions round the sun. The time
was a little slower than at Birmingham, and the effect was much
the better for it. The hows drew forth a rich volume of sound
from the strings^ most admirable in its consequences, and the
whole overture was worthy of Handel and of his Messiah,
Comfort ye was sung by Gardoni. We were more pleased with
Mr. Sims Reeves on the whole, in this recitative, and in the air ;
though the vocalization of Signer Gardoni was more clear or
articulate. The leading off of the first chorus produced a some-
what unpleasant feeling, for the tones of the men in alto struck
hard upon the nerves, and musical taste was wounded in the
house of its friends ; but it soon recovered, as the parts came in
^d melted down the severe altos into one common mass of
sound. Elsewhere, too, some sufi^ring was produced by this
austere, cutting severity of the alto. Let men sing the tenor ^
and let the lower voices oi females sing alto ; so shall this part
have all the strength »id firmness required, and yet be gentle,
civil and kind in its approaches. The chorus was carried
through in perfect time, slow and sure. The recitative, Thus
saith the Lord of Hosts^ and the following air, which were by a
fems^e alto voice at Birmingham, were here sung by Signor
Belletti. It is not necessary to say that he sung them in excel-
lent spirit and taste, for he has been heard in the same and
other pieces in Ae Messiah in New York. The chorus. For he
shall purify^ was carried through with the greatest accuracy,
and what is remarkable, the vocalizing passages here and in
other dioruses, were well done. Miss Dolby sang, Behold! a
282 NORWICH FESTIVAL.
virgin shall conceive, and thou that tellesi. We cannot help
remarking upon the most becoming appearance of the singer.
She looked like one in earnest, as if she were really making
these great declarations, and was wholly absorbed not in the
music, but in them. The voice, the countenance, and the whole
demeanor seemed to correspond, and all seemed to say that his
name shall be, Emanuel, Ood with us. During the following
chorus, too, she stood with the majesty and * dignity of a Minis-
ter of State, (though always with a modesty becoming her sex,)
singing Arise, shine for thy light is come, and the glory of the
Lord is risen upon thee. This beautiful deportment on the part
of Miss Dolby, was not carried out on the part of the choir,
amongst whom there were some laughing and talking, and ap-
parent congratulations, as soon as the chorus was over, which
seemed to say, we have done well. If vanity must reign, if it
cannot be subdued, do, singers, let us try and veil it for a mo-
ment, at least, during such a performance as this. Herr Formes
sang (as at Birmingham) the next recitative and air ; more need
not be said. The chorus, For unto us, was much better at Nor-
wich than at Birmingham. It was led off, not Pianissimo, but
perhaps. Mezzo Piano, and there was a gradual crescendo all the
way to the fortissimo on the word " wonderful." The great
contrast made at Birmingham seemed like a kind of trifling.
Handel has provided sufficiently for the grand climax in a
contrapuntal way, and although the soft and loud are important,
yet they must not be carried too far. The organ, notwithstand-
ing the tardiness of its vibrations, greatly added to the magni-
ficence of this chorus. The people stood during its performance.
During the pastoral symphony, which was finely played, there
was a general whispering and talking over the room ; the singing
had kept the people silent, and now that the music was merely
instrumentqL they felt at liberty to communicate their delights
NORWICH FESTIVAL. 283
one to another. The organ was very eflfective in its holding-
notes in this piece. The angel came, in the human form of Miss
Louisa Pyne ; she hushed the noise of the great assembly as she
told that There were sheperds abiding in the field. She spoke
well, indeed she did ; yet Madame Clara Novello's delivery of
the same and the following recitations was ringing in the ear to
her disadvantage. The chorus. His yoke is easy, was too heavy.
This chorus should float in the air ; it should not sink down to
the earth. It should be light, buoyant, spiritual, not subjected
to the laws of gravitation. Although we should not dare to say
it, lest we might be regarded as musically heretical, yet we
could not like Mozart's Trombones in this chorus.
" Behold the Lamb of God," went well as to time, but the
voices were not kept down to mezzo piano as they ought to
have been, nor were the crescendo and the diminuendo (so im-
portant in this chorus) well observed. Miss Dolby sang very
effectively. He was rejected and despised of men — yet it had not
so much the appearance of singing as of impressing the senti-
ment by the power of vocal utterance. The chorus. Surely He
hath borne our griefs, was sung much better than at the Bir-
mingham Festival, because of the time, which was considerably
slower ; so also. And with his stripes we are healed, and the
following, All we like sheep, each of which were given in a more
steady, firm, and lofly manner. The grand chorus in C minor.
He trusted in God, was most gloriously sung — time considerably
slower than at Birmingham. The recitative. Thy Rebuke, and
the air, Behold and see, were by Mr. Sims Reeves. The air
especially, was given with great tenderness, and with deeply
sympathizing tones and manner; touching, indeed, was the
utterance of the last words, like unto his sorrow. In the chorus.
The Lord gave the word, the men's rough alto was like a saw-
mill, when the saw strikes a nail ; how can this terpble grating
284 KOBWIOH FESTIVAL.
be tolerated ? The first part of the chorus, Their wund is gone
out, was sung by four voices, and although the voices were
perfect, yet the chorus was very much injured by the change.
Here again Handel has made all the provisions for soft and Uyud
required, and the chorus is vastly better when sung according
to his intention. Signor Belletti sang. Why do the nations^ and
notwithstanding the great superiority of Herr Formes' voice,
we think Belletti's performance the better of the two ; his vocal-
ization is perfect, like a good touch upon the Piano Forte ; there
is none better. Mr. Sims Beeves sang. Thou shalt break them,
vastly better than Signor Tamberlik, yet we were not satisfied
with its performance. We have heard this air, which Brahana
has made so &mous, mudi injured by a mighty effort on the
word ^ dash." Mr. Beeves made no violent attack upon this
word ; his effort rather was to give a proper character to the
whole song, and not to depend so much upon the utterance of a
single word. This was certainly in good taste. And now came
the Hallelujah — ^the time could not have been better ; Mr. Ben-
edict's time in Handel is always without fiiult. The alto was
again harsh on the passage by treble and alto in unison on, A
King of Kings and Lord of Lords, but the chorus told admirably.
Madame Viardot Garcia sang, '' / know that my Redeemer
liveth;^^ it was transposed to accommodate her voice, but this
was abundantly atoned for by the deep, appropriate emotion
with which it was sung. Madame Viardot would excel in a
song of this general character were it a Mezzo Soprano, or
adapted to her voice ; for ahe sings with a pathos and tender-
ness of feeling unheard, unfelt elsewhere. But '^/ know that
my Redeemer liveth^^ as it stands, is beyond her reach. We
have never yet heard justice done to this song. It requires a
great voice, a great heart, and a finished singer. We need not
particularize,other pieces. The whole oratorio was sung, without
NOBWICH FESTIVAL. 285
omission, and although we think it may be better to abridge
ordinarily, it was not now too long.
The closing " Amen" chorus, was given in slower time than
we have usually heard it, and of course, as it was perfectly
sustained throughout, carried with it great dignity and grandeur;
it was like the rush of mighty waters, and towards the close,
where the most remarkable contrapuntal passages occur, it was
like the meelmg of lOBny seas. What an astonishing chorus is
this ! We must not omit to speak of the first violin passage in
this chorus, leading off the principal subject in simple unison.
It was a most beautiful thought of Handel, and on this occasion
the passage was performed by twenty-two violins, all blending
so as to form a perfect chorus, and given with a stability, com-
pactness, solidity, and determination which cannot be expressed
^ordiand L only be imagined by those who have heard
like effects. Great is Handel's oratorio of the Afessiah I Great
in its wonderful and soul-stirring themes ! Great in musical
inspiration ! Great in its moral power ! Ye choirs who seek
for music of^ a high order in the oratorio form, purchase Han-
del's Messiah I There is nothing on earth like it ! Be not
satisfied with anything short of this ! Study the sublime cho-
ruses ; take the easier first, as, And the glory of the Lord^ The
Lord gave the Word, and For unto its a child is bom. Then
the HallelujaA, Worthy is the Lamb, and Amen, will soon follow ;
and also those which are still more difficult, as, And he shall
purify. Surely he hath borne our griefs. Behold the Lamb of Ood,
and others. The music is indeed difficult, it cannot be performed
without labor, but the labor bestowed will be productive of
rich reward. Instruments, too, are essential; but when or-
chestral instruments cannot be obtained, even a quartet of
strings will help along very much. Or a piano forte {if it be a
pianoforte) may furnish a satis&ctory accompanim^t, but it
286 MOORFIELDS.
must be in tune, and there must be some one to play it. Such
practice as Handel's choruses will promote a healthy musical
growth, general improvementj and good taste. It will render
insipid much other music, contained in the tune-books, but it will
lead to discrimination, and a psalm^tune which is at once based
on true philosophy, and is yet so simple in its structure as to
meet the wants of the people, will never suffer by being brought
into close connection with Handel or Mendelssohn. The Old
Hundredth, York, and Dundee, will live as long as anything
that Handel has ever written ; and although an acquaintance
with Handel will certainly occasion a very large part of modem
psalmody to appear insipid, foolish, or disgusting, tunes of the
character of those above mentioned will stand firm and un-
moved, and will be taken up after an hour with music of a
higher scientific character, with new relish and increased delight.
LETTER XLVII.
Ihe Tabernacle, HoorfleldB, FioBbury^Wicklifre Chapel) Gommereial Road^ Eaat^
Rey. Br. Reed.
London, October, 1852.
Wb attended the Tabernacle, Moorfields, in the morning.
It is a lai^e building, something like the Tabemade in New-
York, though incapable of seating so many persons. White-
field formerly preached here, and it was here that Mr. Finney,
of Oberlin, preached to multitudes of people about two years
since. It is not always easy to obtain a seat in these houses
of worship, so I went in and inquired of the sexton if he knew
Rev. Mr. Finney from America. " Oh yes !" was the reply.
" Well then," I said, " I wish you to give me a seat on his ac-
WlCtLlFJPE OHAPEL. 287
count, for I am ari American, and know him welli" Of course
he took me into one of the high places, if, indeed, thel*e are any
such places there. Rev. Mr. Campbell, well known by his t$r
rious publications, and especially by his Hymn Book, was un-
wellj aild did not officiate. He was present, however, and took
his seat in front of the pulpit, in the seat usually occupied by
the Precentoi*. A young man occupied the pulpit, and almost,
as a matter of course, we had a doctrinal sermon. Dr. Camp>
bell added a few words at the close. The singing was led from
the gallery back of the preacher by a Precentor, who seemed
to have around him a few men*singers and women-singers whom
he called, perhaps, a choir ; but there was no choir'^fTect, nor
was the Congregational singing as good as it is in most churches.
The lines of the hymns were read two by two, previous to
singing, as is the custom in many of the churches. The tunes
were badk For example, a hynm beginnings
" As the dew from heaveii distilling,
Gently on the grass descends," &c^
was sung to Haydn's '^ God save the Emperor,'' or rather that
tune was attempted, for it is not proper to say that it was sung.
In the evening we went to the WicklifTe Chapel, Conomerdal
Road, East, Bev. Andrew Reed, D.D., pastor. Dr. Reed was
in America several years since, in company with Mr. Mathe-
soui now no more. In the singing exercises, the hymn was lined
out. The choir (so called) consisted of several men who occu-
pied a square pew in front of the pulpit The first tune was
Dr. Arnold's Wareham, abridged; the second Was French
(Dundee), and the third I knew not, but it was unfit for Con-
gregational use, as it went up to G and dwelt there considera-
bly. No small effort was made by good people around me to
288 BEY. ANDREW BEED, D.D.
reach the lofty eminence, but in vain ; most voices fell short
of the pitch, and vibrations inharmonious followed. The hymn
was that beginning,
" No more, my Ood, I boast no more,
Of all the duties I have done."
The tune Hamburg, in the key of E flat, would have suited it
exactly.
The text was, " But now ye have no cloak for your sins." It
was most faithful, and seemed to flow out of a heart filled with
love. No abstract, scientific, theological discussion, as in the
morning, but it was the language of an aflectionate parent, en-
treating his children, and ui^ing them to the paths of truth and
virtue.
. We have no cloak for our sins, first, because we live under
so gracious a dispensation of mercy.
Second, because of the land of liberty and of privileges in
which we dwell. " Is there," said the preacher, " under the sun
a land where the gospel is so freely and so fully preached 1
Indeed, we are highly distinguished above all others. Relig-
ious privileges are nowhere so abundant and accessible to all
as here. Who may not enjoy them 1 The exertions in the
cause of Christian benevolence are greater here than anywhere
else. Schools, from the in&nt school upward, are also more
abundant." " You are a Briton," said Dr. Reed, " and you
glory in your name ; be sure that you always associate this
with the religious advantages which your country affords."
"Sabbaths are better observed, and religious knowledge
abounds. Is it nothing to live in such a land as this ? Is it
nothing to enjoy these Sabbaths 1 Is it nothing that we
enjoy these houses of worship 1 these songs of praise 1 these
rehearsals by which we may be prepared for the music of
REV. ANDREW REED, D.D. 289
the heavenly choir?" He alluded, in this connection, in a
very tender and appropriate manner to his own preaching
among his people, saying that he never allowed himself to come
into the pulpit without attempting faithfiilly and affectionately
to point out to his hearers the way of salvation. There were
other heads of discourse, which do not now occur to us. He
closed with a most earnest appeal to his hearers not to attempt
to doak their sins, but to forsake them at once, and find deliv-
erance and salvation.
Dr. Eeed's manner is that of a tender parent ; it contrasted
strongly with that of the young man we heard in the morning.
He was sometimes extravagant in his language, and his manner
seems to be adapted rather to drive than to invite, encourage,
and lead one along ; there was a severity about it, forbidding,
more apt to be found in a young man having great confidence
in what he has learned in the seminary, than in one who seems
to depend less upon the knowledge which he acquired at school
than upon the wisdom which he has derived from experience.
Dr. Reed's manner was all tender, gentle, aflfectionate ; the
spirit he seemed to manifest was that of love ; such a spirit,
who can resist % His manner of speech was also excellent ; his
voice is soft, yet every word was so distinctly uttered that it
was heard throughout the house. We have heard sermons that
would be called greater than Dr. Reed's, evincing, perhaps,
deeper thought or stronger intellect ; but we have not heard a
finer pulpit exercise than on this occasion. What a sympathy
there is between a faithful and affectionate manner in the
preacher, a preacher throwing out his heart and entreating his
hearers to reconciliation and Zion's songs % When with such
preaching the organ, the choir, the people, the hymn, and the
tune all sympathize, Zion is beautiful, the joy of all who dwelt
therein. Mount Zion rejoices, and the daughters of Jerusalem
13
290 MORAVIAN CHUBCH,
are glad ; they walk about Zion, tkeyk mark her bulwarks, and
consider her palaces, that they may sing to following genera-
tions — " This Grod is our Grod, he will be our guide even unto
death."
In going to and coming from church to-day, we have traveled
upwards a£ ten miles.
LETTER XLVIII.
Monylan Church— BapUst Chapel, LyoiMtreet— Sloglng in Rev. BIr. Brock's Church.
LoKDOM, October, 1852.
We attended the Moravian church with the expectation of
finding a cultivated state of psalmody, with perhaps motets,
chants and anthems. We have long known of the musical works
and efforts of Rev. Mr. Latrobs, Moravian minister, whose sis
volumes of Church music are very valuable, and also something
of his son, who is the author of the very valuable volume
known as " Latrobe on Church Music." But the glory has de-
parted from the Moravian chapel. The congregation was small,
and the singing was drawled out very heavily. They have a
small organ, poorly played ; between every line was a transi-
tion passage, afler the manner of some of the German churches.
There was a small choir, but they attempted nothing further
than to lead the congregation. The service was by a liturgy,
but the responses were mostly said and not sung.
In the evening we went to the " Zion-street Chapel," Wal-
worth. This is a Baptist chapel ; the pastor was absent, and a
young man, a student, filled his place. As a matter to be ex-
pected in such a case, there seemed to be some attempt at
THE FBEOENTOB. 291
eloquence; we almost invariably see it in a young man, and
especia]ly in a student. It is often somewhat trying to listen
to the sermons of the theological students, and so it was on this
occasion. The hymns were given out by the Precentor, who
read them badly enough, applying the same accent, or general
inflection, to each stanza. Perhaps the following may convey
some idea of his manner of reading : — Let the first line be com-
menced on a high pitch, and let the pitch rise by a slide grad-
ually until a climax very high is obtained by a strong pressure
tone and upward slide or inflection on the last syllable but two ;
then a sudden slide down, stiU on the same syllable, followed
by still another upward on the last syllable, and this to be ex*
actly the same in form, though differing a little in force in every
couplet, or twice in each stanza :
How sweet the name of Jesus sounds
In a believer's ear ;
It soothes his sorrows, heals his wounds,
And drives away his fear.
We have seldom heard a hymn read in a more mechanical sing-
song manner, or in worse taste. There was no choir, and the
congregation generally joined in the singing. The people were
all seated in prayer, and all stood in singing. They all took
their seats merely for the benediction after the last singing.
People in our own country are very much troubled that the
custom of sitting in prayer should be increasing so much ; but
it seems to prevail in a majority of the churches here. We did
not learn much in relation to church music this day, either in
the Moravian or Baptist chapel.
Rev. Mr.- Brock (Baptist) is the minister of Bloomsbury
chapel, Bloomsbury latreet. He is a very popular preacher, and
292 BLOOMSBURY CHAPfiL.
has a large and flourishing congregation. Not indeed like the
great German congregations where we often see two or three
thousand people assembled on a Sabbath mornings but there
were not less, we think, than a thousand persons present at the
Bloomsbury chapel last Sunday. The church is furnished with
a very good-sized organ, though its tones are harsh, and espe^
dally so are the stops of small pipes, as mixture or comet.
There is no choir, but the singing is by the people, and seems
to be very general. There was a ciiorus of many voices ; a
chorus not of musical attraction, but of religious edification —
excellent and appropriate. Oianting had been introduced into
this congregation, and is practised by the whole collected as-
sembly with much success. We do not hesitate to say that the
chanting by all the people in Bev. Mr. Brock's church is much
superior to any of the cathedral choir chanting which we have
heard. The chant itself was, indeed, unfavorable to the best
results, being the well-known Dr. Dupuis in A ; but notwith-
standing the tune-like character of the chant, the effect was
truly good, and seemed to furnish a most satisfactory answer to
those objectors to chanting, who say that it is impossible for a
large congregation to chant together. The words were, in gen-
eral, deliberately and well delivered, and with a good degree
of simultaneousness on the part of the congregation. Chanting
is practised in public worship in many dissenting churches in
London, and in other parts of the kingdom. Indeed, although
it was introduced at an earlier period into our New England
churches than here, yet it seems to have spread more here, and
to have taken deeper root. One reason for this may be, that
here it is made a repuhlkan thing ; it is in the hands of the
people, and they like it. The metrical psalms were also quite
well sung, and the great importance of an oi^an in Congrega-
tional singing was made very apparent. A custom in giving
WESLEYAN CHAPEL. 298
out the hymn and tune is singular. The minister first gives
out the number of the hymn, and immediately afterwards the
organist plays over the tune. After this the minister, who
stands in the pulpit during the playing, reads the hymn, and then
the singing follows.
Mr. Brock has made a much-needed reform in relation to the
public prayer. He has broken up the ever-so-long prayer, and
instead of it has two shorter prayers. Rev. Mr. Binney of the
Weigh House chapel has done the same. The devotional ex-
ercises occupied an hour, and the sermon that followed about
forty minutes, after which the meeting was dismissed by the
usual benediction.
LETTER XLIX.
Wedeyan Chapel, Great Queen Street, Lineoln^s Inn Fields— Rev. Baptist Noel's Chapel
—Lesson on Chanting, by C. C. Spencer— Anecdote— Stoke Newington— Dr. Walts'
Monument and Inscription.
London, October, 1852.
The Wesleyan Chapel, Great Queen street, is a large building
with double galleries. The Episcopal Church service is used,
as it is in most of the Wesleyan congregations. The psalms
were read by the minister, and intoned by the Precentor and
others of the congregation, making a disagreeable mixture of
speech and song. It was so likewise with other parts of the
service, as the Lord's Prayer and the Creed. Four metrical
hymns were sung, mostly to wretched tunes, and in a wretched
manner. A small choir of boys surrounded the Precentor, but
there was no organ. Next to me sat a young man who seemed
to try and do his best, and the poor fellow would have done
294 CHANTING.
pretty well had the tunes been adapted to the circumstances ;
but when they went up as high as F or G, alas for him ! He
made the attempt indeed, which is better than not to try at all,
but he fell ; the leap was beyond his power. He tried to take
the high parts of the tune an octave lower than the proper pitdi,
but in these attempts he often turned somersets, though he did
not always come down upon his feet. It was really pitiable to
stand by him and witness his efibrts ; but yet the easier parts
of the tune he would get right. From this example, we ob-
tained sufficient proof of what Congregational tunes ought to be :
simple and easy, so that they may be within the reach of all.
St. Ann, Phuvah, Tallis, are good examples, (Cantica Laudis, p.
307.) Yet they need not all be of this rhythmic character;
Olmutz, Hamburg, Marlow, are always good. Had one of
these tunes been sung at the Wesleyan Chapel, the young man
would have been saved from many falls and bruises. In the
evening we went to Rev. Baptist Noel's chapel, where one is
always sure of edification from the sermon if not ftom the psalms.
We have recently had an opportunity of attending a lesson
on chanting, given by C. C. Spencer to the Rev. Mr. Brock's
(Baptist) congregation. Mr. Spencer is well known as a warm
friend of old psalmody, and especially by his " Explanation of
the Church Modes." His manner of chanting is good, quite a
different thing from that of the Cathedral choirs. The words
are delivered about as fast as in speech, and time in the cadences
is almost wholly disregarded. His beau ideal seems to require
the absence of all regular division of time, or all that which we
commonly call measured rhythmic effect. He is favorable to
the unisonous singing of the old church tunes, and the congre-
gation tried some of them under his direction with good results.
I insert one of these chants exactly as he teaches it, and as the
people on this occasion sang it.
UNISON CHANT.
296
ANCIENT CHANT— TO BE SUNG IN UNISON.
ADAPTED BY 0. O. 8P1BNCXB.
^i^
i
i
T^
iz
zz:
■^
zz
1. I will extol thee, my { Gtod, O King ;
And I will bless thj name for ] ever and ever.
2. Every day will 1 1 bless-thee ;
And I will praise thy name for | ever and ever.
3. Great is the Lord, and greatly to be | prais-ed ;
And his greatness is un | search-able.
4. One generation shall praise thy works to an | o-ther ;
And shall declare thy | migh-ty acts.
6. I will speak of the glorious honor of thy | majesty ;
And of thy | won-drous work.
6. And men shall speak of the might of thy | terrible acts ;
And I will declare thy j great-ness.
*l. They shall abundantly utter the memory of thy great | good-ness \
And shall sing of thy | righteous-ness.
8. The Lord is gracious and full of com | pas-sion ;
Slow to anger, and of great | mer-cy.
9. The Lord is | good to all ;
And his tender mercies are over | all-his works.
10. All thy works shall praise | thee, O Lord ;
And thy saints shall | bless-thee.
11. They shall speak of the glory of thy | king-dom,
And I talk of thy power ;
12. To make known to the sons of men his | mighty acts,
And the glorious majesty of his | king-dom.
131 Thy kmgdom is an everlasting | king-dom ;
And thy dominion endureth throughout all gene ) ra-tions.
296 CHANTING.
14. The Lord upholdeth | all that fall ;
And raiseth up all those that be | bow-ed down.
15. The eyes of all | wait upon thee;
And thou givest them their meat in due | sea-son.
16. Thou openest | thine-hand ;
And satisfiest the desire of every j living thing.
17. The Lord is righteous in | all his ways,
And holy | in all his works.
18. My mouth shall speak the | praise of the Lord;
And let all flesh bless his holy name for ever and | e-ver.
Mr. S. is giving a course of lessons to Mr. Brock's congre-
gation on Chanting. It is but a few years since we had the
honor of introducing chanting into some of the American
churches (other than Episcopal) for the first time. At that
time, perhaps some fifteen or twenty years ago, chanting had
not been heard of in a dissenting congregation in England.
Now it is common here to hear a congregation chant a Psalm.
And it is often very well done, much better than we have often
heard it by some four or six voices. It ought to be extended
among the people, for its efficacy as a form of worship is most
important. An anecdote related to me a few days ago is illus-
trative of this. When chanting was first introduced into the
Weigh House chapel, (Rev. Mr. Binney's,), about four years
since, it was received with almost universal favor from the first ;
but there was one good old man who made strong objection to
it ; it grieved him much ; but as the people were almost all in
favor of it, he yielded in a good Christian spirit, looked on his
book during the exercise, and tried to submit patiently to that
which he could not approve. The sixty-seventh Psalm was,
and is, often chanted. Indeed, they have but very few selec-
tions from the Psalms that they use, nor have they more than
two or three chants, Tallis' chant is the principal. The few
DB. WATTS' MONUMENT. 297
Psalms that they use, therefore, with the tunes, are well en-
graved upon the memory of the people. A few weeks since
the old man died. When on his death-bed, he sent for his min-
ister. Mr. Binney immediately obeyed the summons, and as
he entered {tie sick chamber found the old man on his death-
bed, with his Bible open before him, trying to chant the sixty-
seventh Psalm.
We have lately had the pleasure of lecturing in several
churches on the subject of Psalmody, and among others, Rev.
Mr. Jefferson's, Stoke Newington. Mr. Jefferson's chapel stands
right opposite to the spot where Sir Thomas Abney formerly
lived, in whose hospitable mansion Dr. Watts for many years
found a home. Although his church was in the city, he often
preached here, and here he wrote many of his beautiful hynms.
He was buried in the Abney Park Cemetery, and a monument
has there been erected to his memory. On the plinth on the
pedestal is the following : —
^^L MIf ^^JBm ^kMMV tfk^^^^
xii jtt^nno¥$
OF
ISAAC WATTS, D.D.;
And in testimony of the high and lasting esteem
in which his
Character and Writings are held in the great Christian Community
by whom the English language is spoken.
Of his psalms and hymns it may be predicted, in his own words,
Ages unborn will make his songs ^
The Joy and labor of their tongues.
He was born at Southampton, July 17, 1674,
and died Nov. 25, 1748,
After a residence of 86 years in the mansion of Sir Thomas Abney, Bart.,
then standing on these grounds.
Below this i9 an extract from Johnson's Life of Watts. The
monument was erected in September, 1845.
13*
298 SACKED HARMONIC SOCIETT.
LETTER L.
Sacred Harmonic Society — Samson— Christus—Spofar's Last Things.
LoMDOH, Jan. 11, 1853.
In a recent letter, we spoke of the different choral societies in
London. Public performances by some one of them are very
frequent ; so frequent indeed, that we can find time for only now
and then one. The first for the season was by the " Sacred
Harmonic Society," under Mr. Costa, and consisted of a selec-
tion from "Samson," by Handel, Mendelssohn's "Christus,"
and " The Last Judgment," by Spohr. The death of the illus-
trious Duke gave a tinge to all the earlier concerts, and the
" Dead March" in Saul was in constant requisition. On the
present occasion, the selection from " Samson" consisted of the
air, " Ye Sons of Israel," " Dead March," and chorus,
"Glorious hero, may thy grave
Peace and honor ever have."
The " Christus" by Mendelssohn, seems to be very popular,
both among the singers and hearers. The chorale, " As bright
the Star of Morning gleams," one of the best German chorales,
and one that is very often heard in their churches, is brought in
with fine effect after the chorus, " There shall a Star of Jacob
come forth." Mendelssohn is always great in such choruses as
" He stirreth up the Jews," " Crucify Him," and others in which
he depends mostly upon orchestral effect, and in which he car-
ries out his ideas of imitation or description with all the powers
of modem instrumentation.
Spohr's oratorio was well given, the Gresham Professor him-
self being judge ; for we had the honor of a seat by his side,
PBOP. TAYLOB. 299
and of listening to his remarks during the per^rmance. Mr.
Taylor was the first to bring out Spohr in England. "Die
letzten Dinge," or " The Last Things," (wtich is a much better
title for the oratorio than the one it now bears,) was Ijomposed
about twenty-five years ago. It accidently came into the hands
of Prof. Taylor, who translated the words, and first broiight it
out at the Norwich Festival in 1830. Since then it has been a
standard oratorio, and is often performed. Prof. Taylor says :
'^ It at once seized the public attention, and commanded the ad-
miration of the most distinguished professors of every school.
Its influences upon the feelings of an audience has been attested
by expressions more decided and unequivocal than I ever re-
member to have witnessed. I speak not of the admiration
which the musician derives from such a display of the power
and the resources of his art, but of the homage which nature,
though musically untutored, involuntarily yet willingly pays to
genius. The throbbing heart, the moistening eye, the quivering
lip, here bespeak the triumph of the composer." The solo parts
were sustained by Mrs. Endersohn, Miss Williams, Mr. Lockey
and Mr. Phillips.
We cannot enter into the detail of this performance ; sufiice
it to say, that it aflbrded some of the best specimens of solo,
quartet and chorus singing which we have ever heard. It was
performed with admirable promptitude and exactness, as is
everything else that is brought under the b&ton of Mr. Costa,
800 ST. PAUL'S.
LETTER LI.
St. ^aul^B Cathedral— Hey. Mr. Brock's.
•
The organist at St. Paul's is a fine player. He played to-
day as well as the canon read. He does not let himself and his
instrument down to mere merry-making, or to a concert man-
ner ; but always preserves his own dignity and that of his in-
strument, and so plays as to promote the true end of music in
worship. The contrast between the organ-playing of this morn-
ing and that which we heard on the last Sabbath, cannot be ex-
pressed in words. It was at a popular chapel attached to a
large establishment where poor children are cared for and pro-
tected, and which is much visited by strangers coming to Lon-
don. Here the organ-playing is frivolous, light and trifling, we
had almost said, as is Jullien's Quadrille Orchestra in Drury
Lane. It is amazing that any one who has musical knowledge
should so pervert the powers of his instrument. But yet the
organist has fine powers of execution ; he plays with a rapidity
of finger, with a clean piano-forte touch, producing the staccato
with as much distinctness as stringed instruments, and at times
almost the pizzicato. So it was on the occasion when we last
heard him, when the song, "Why do the nations," from the
Messiah, with the chorus, " Let us break their bands," were
sung to an organ accompaniment as brilliant almost as that of
a grand orchestra.
Congregational chanting is very good in some of the non-
conformist churches ; it was really excellent in Rev. Mr.
Brock's church this evening. The chant was in unison, as follows :
^3 3 J I J J [l
■ ^ — L/ — Q — ^^ _l-_
22:
zz
XJ ^ CM
REV. MB. BROOK'S. 801
Of course, the organist played full l^irmony. The fine old
tune, Tallis, (Cantica Laudis, p. 307,) was sung to the 23d
Psalm,
" My shepherd will supply my need."
The organ is very well played by an amateur ; yet he has the
habit of stopping his instrument at the end of each stanza, so as
to break up all flow of melody. We hardly know a worse
habit than this, which we have heard in several places where the
organ is used in non-conformist places of worship. An intro-
ductory voluntary was played, but no afterlude, or marching
the people out. The congregation is always large at this
church, almost every seat being occupied ; yet there are no con-
gregations of three or five thousand people here, as we find in
different parts of Germany.'
We have been recently more than ever before convinced of
the necessity of simple harmony for Congregational purposes.
We have seen attempts to introduce, for example, some of John
Sebastian Bach's harmony parts into congregations. Now, it is
well known that Bach did not write harmony parts for Congre-
gational singing, but for choir singing. In his church, the St.
Thomas', Leipzig, all the people sing the melody, and the parts
are sung (when sung at all) by the choir. Of course. Bach
wrote such diflicult harmonies as none but a choir, and a pro-
sessional choir too, can sing well. Yet editors not knowing
these circumstances have introduced these difficult harmonies
into tune books designed for Congregational use. Congrega-
tions might as well undertake to sing Beethoven's Mass No. 2,
as these chorals, with all sorts of complicated and difficult har-
mony parts. Oh that two things in relation to psalmody
might be understood ! 1st. That Congregational singing cannot
be good unless the tunes are very plain and easy ; and 2d,
302 HOLLAND.
That there are plenty of such plain and easy tunes which possess
true musical excellence, and which are in all respects suited to
the wants of a worshipping assembly.
LETTER LII.
Chnrch Music in Holland— Haarlem Organ— Leyden— The Hague— Bells— Hats on-
Reading the Bible for a Voluntary.
During a recent tour through some of the principal places in
Holland, we todk care to hear the church-singing, and to learn
what we could of the actual state of Psalmody. As the whole
appearance oC religious worship differs from that of Germany,
SO also does this particular branch of it. It is more like that
of the Swiss churches, or like that of those German churches
which border on Switzerland, and where the Reformation seems
to have left more decided or clearer impressions than are gen-
erally seen in Saxony or other German States. The prevailing
forms of worship are, so far as we have observed, more simple
in Holland, or more like those of o\ir New England churches.
Now, the more simple the form of worship, the less, certainly,
it is adapted to anything like artistic display, if not also to ar-
tistic excellence. As there are no pictures and no statuary in
the Dutch churches, so there is no artistic music. There are
no anthems, no motets, no solos or quartets ; there cannot be,
fbr there are no choirs. We do not know but there may be
choirs in some of the churches in Holland, but we did not see
or hear of any.
Holland is the country of bells ; and the merry chimes are
to be heard hourly, from almost every church-tower or steeple.
/"
HAARLEM ORGAN. 803
It is the country of organs also. Every church is supplied
with keys and pipes, as a necessary ^art of its furniture. The
organs, too, are (many of them) large and excellent, but are
only used as an accompaniment to the chorus of the people.
Everybody has heard of the Haarlem Organ. It was for many
years the largest in the world, and is famed for its size the
world over. We thought it as good as it is great^ and listened
to its tones with delight. It is indeed very powerful, but its
full power is seldom heard, and never in public worship. There
are now several organs as large, or larger ; for example, the
organ in the Town Hall, at Birmingham ; but although the
Haarlem organ is now equaled in size, and although various
improvements (especially within a few years past) have been
made both in action and in pipes, yet there is not perhaps any-
where to be found, a more powerful chorus than that of this
famous instrument. Dr. Burney took particular pains to ex-
amine and describe it, many years ago ; and, in his " Musical
Tour in Holland," he gives the details which have been often
copied and published. The present organist has fine execution,
and appears to understand well his instrument ; but, it is a pity
that, for the sake of pleasing his company, and confirming his
hearers in a bad taste, he should employ its noble powers in
battle-piece and thunder-storm representations ; or, at least,
that these should be made the principal feature of his exhibi-
tions. There was a large congregation the Sabbath we were in
Haarlem, and all united in great earnestness in the psalms.
The movement was very slow — ^very nearly twice as slow as it
is common to sing the Old Hundredth in our American churches,
so that the time was easily described by counting four to each
note, or eight in a double measure. No leading voice was
heard ; the organ alone seemed to lead, and yet the singing and
the playing were so nearly together that no unpleasant effect
/
804 HATS ON IN CHURCH.
was produced. It is always better that the organ should lead,
than that a single voice should be heard ahead of others ; but,
there is, indeed, no necessity for either, even in G)ngregational
singing, and the idea that a single voice should lead a choir by
being always a little in advance in time, is so entirely at vari-
ance with good taste that it is not to be tolerated. The singing
was in unison, and the times seemed to be perfectly familiar.
The tune was not played over upon the organ before the sing-
ing, but the organist played only a prelude of a few measures,
when all the people joined at once in the hymn. The inter-
ludes were very short ; indeed, they could hardly be called in-
terludes in the ordinary sense, since they were too short to in-
clude even a single phrase ; they consisted only of a passing
chord or two, merely allowing time to breathe between the
stanzas.
We have already intimated that the singing was very general
in the congregation ; in tMs respect, we think the Dutch con-
gregations are in advance even of the German ; for there was
one universal burst of vocal sound from the beginning to the
end of the hymn. No other musical form was attempted than
that of the plain metrical time, or chorale.
We were also present during public worship in churches at
other places, as Leyden, and The Hague, but a description of
one is a description of all. At Amsterdam and Rotterdam the
same general style of church-singing prevails.. There is one
prevailing custom here, which strikes a stranger with surprise,
and which seems to indicate a want of propriety, if not of rev-
erence ; and that is, the wearing of hats in church. It is a cus-
tom in the HoUandish churches for the men to enter and re-
main with hats on, until the devotional exercises actually com-
mence ; they then uncover their heads, but put on their hats
again the moment the preacher begins his sermon. It looks
N
DB. BEXFIELD. 805
strange to see the hats put on the moment the text is named.
This custom also prevails in some parts of Switzerland.
There was another custom which we observed here, that we
have not seen elsewhere. Very soon after the people began to
assemble for public worship, an elder took his stand in front of
the pulpit and commenced reading the Scriptures aloud. This
he continued for perhaps fifteen minutes, while the people were
assembling, or until the minister had arrived and was quite
ready to commence the service. So that the reading of the
Scriptures publicly, was treated with less appearance of rever-
. ence than are our organ voluntaries in New England ; since it
is not the general custom with us to commence the voluntary
until after the minister has taken his place in the pulpit. But
it seemed strange to see the public reading of the Scriptures
employ the coming in of the people, the walking, talking, and
other noises of disturbance, and at the same time to see the
men with heads covered, or hats on, in tjie house of Qod.
LETTER LIII.
Dr. Bezfield^s Lectnres— Engliih Glee and Madrigal Union— Oratorioa— Sacred Har^
monic Society-^udas Macccbsus — Concerts.
London, March 11, 1853.
Dr. W. R. Bexfield, the author of the oratorio " Israel Re-
stored," has been giving a course of lectures on music, and es-
pecially on the present state of music in England, at the Lon-
don Institution. This is an institution which provides lectures,
popular and instructive, annually, on many subjects. The pres-
ent season there have been courses of lectures on Physiology,
Physical Geography, Electricity, Geology, Poetry, and Music.
306 MUSICAL LECTURES.
The musical course consisted of six lectures, on the following
topics :
Lecture I. Chukch Music. — Chants, Psalms, Tunes, Services,
Anthems, Voluntaries.
Lect. II. The Oratorio. — ^Requirements for writing one;
Handel, Haydn, Crotch, Mendelssohn, Spohr.
Lect. III. The Concert-Room. — Concertos, Violin, Clarionet,
Overtures, Symphonies.
Lect. IV. The Drawing-Room. — Pianoforte; Mozart, Weber,
Stemdale, Bennett, Mendelssohn's songs without words*
Lect. V. The Opera. — Beethoven, Mozart, Gluck, Spohr,
Rossini, and others.
Lect. VI. Revival of taste for Glees and Madrigals, etc.
These have been accompanied with illustrations by various
artists in the different departments. Indeed, it may be said
that the illustrations have constituted the principal attraction
(and th^' house has always been crowded). Dr. Bexfield not
having given himself much to close analysis or description.
Dr. Bexfield is quite a young man, but a fine musician, consid-
ered either as a composer or as a performer. He has a good
command of the keys, and were he not otherwise occupied, i. e.
as a composer, he might excel as a solo performer. He is a
great lover of the old writers, is well acquainted with musical
history and with the various excellences or peculiarities of all
the musical composers, and seems ready to quote any of them
from memory. His oratorio of " Israel Restored," though ow-
ing to peculiar circumstances it did not draw a full house on
its second representation at the Norwich Festival, is regarded
as a work of considerable merit. We have heard parts of it under
the author's direction, and were much pleased. It is by some
regarded as the best English oratorio which has appeared for
many years.
M^
GLEE SINGING. 807
The concert season is now coming on, and we have some
kind of musical performance almost every evening. On Mon-
day last we had the pleasure of listening to one of the " English
Glee and Madrigal Union's" concerts. This Union consists of a
number of the best English singers, say six or eight, who, by
much practice together, bring glee singing to a great state of
perfection. Messrs. Lockey, Hobbs, and Phillips, are of the
number. The best glees sung on the present occasion were :
" Mark'd you her eye of heavenly blue f — Spofforth ; " As on a
Summer's Day" — J. Stafford Smith ; and " Under the Green-
wood Tree" — Arne and Bishop. The best maSrigal was,
" Flora gave me fairest flowers." For the madrigals they have
a chorus of about sixteen voices. Several songs were also sung,
two of which excited some interest, viz. : " My Time, O ye
Muses!" by Dr. Croft, sung by the most charming mezzo-
soprano, Miss M. Williams ; and a song from Handel's opera of
" Orlando," by Mr. Phillips, " Lascia amor, e siegui."* There
were also some very poor specimens of songs, glees, etc., which
need not be mentioned. There are in almost all concerts things
to be endured, as well as things to be enjoyed.
Mendelssohn's Elijah has been given this week by the Har-
monic Union; so also the Hymn of Praise and Mozart's Re-
quiem, by the Sacred Harmonic Society. The Messiah and
Elijah are in constant demand, and, like Macbeth, never fail to
draw a full house.
The Philharmonic Concerts are now soon to begin ; but ere
that we expect to be on our way towards home.
On Friday evening last, the Sacred Harmonic Society gave
Handel's Judas Maccabaeus. This is one of the most popular
of Handel's oratorios, though less so than the Messiah. Nor
as a work of genius cai\ it be compared to the greatest work
808 LONDOK CX)KCEBTS.
of the mighty composer, the '' Israel in Egypt." It contains
some very fine specimens of chorus writing, both contrapuntal
and dramatic. It is an oratorio well known in Boston, having
been performed frequently by the Handel and Haydn Society.
The greatest attraction in the way of performers was the mag-
nificent tenor of Mr. Sims Reeves. " Sound an Alarm" was
perhaps never given with greater power and effect. Mr. H.
Phillips sang in his usual excellent style. A new soprano,
Miss Deakin, attracted considerable attention, and promises to
become a popular singer. She was cordially received, as one
almost always is who looks prettily.
On the Monday following, the JIarmonic Union performed
HandePs Messiah. The Societies are all obliged to perform
the Messiah occasionally, otherwise they might not pay their
expenses. This oratorio always insures a full house. Mr. Ben-
edict proves himself to be fully adequate to the direction of
Handel's music — ^no one can do it better — ^and the Harmonic
Union have an efficient chorus and orchestra.
There are now many concerts of classical music. Mr. Stem-
dale Bennett is giving a series of concerts into which he intro-
duces none but the finest compositions. He includes the mod-
em German authors, and even Robert Schumann is heard at
his rooms.
Mr. Lucas, the Professor of H^mony in the Royal Academy,
is also giving a series of quartet concerts at his own residence,
in which the first artists in London are employed, and the most
classic works are introduced.
The Concerts of the English Glee and Madrigal Society, in
which the finest English glees are performed in the very best
manner by the most accomplished English singers, are highly
interesting and instructive. The principal performers are Mrs,
DR. GAMIDGE. 809
Endersohn, Miss Williams, Mr. Lockey, Mr. Hobbs, and Mr,
PhUlips.
Other concerts of less interest are of daily occurrence ; and
the season is now coming when London will be full indeed of
music, as it always is from April to July.
LETTER LIV.
York— Dr. Camidge— RoughneEn of boys' Toices— Lord Murray— Neakomm's Paalin»—
Rev. Mr. Guthrie's— St. Giles's Cathedral— Choral singing in Scotland.
Edinburgh, March 29th, 1853.
I LEFT London on Monday 21st inst., at five o'dook, and
arrived at York the same evening, at half past^ eleven. The
next day I visited the cathedral, and had a pleasant interview
with the organist, Dr. Camidge. He is a fine musician, and is
well known by his various church compositions. Perhaps there
is no cathedral town which one can visit with greater interest
than this, and the service under the direction of Dr. C, is said
to be as well performed as at any place in England. But still
we find the same rapid style of chanting, or nearly so, and the
terrible roughness of boys' voices. Of course boys' voices
must be relied upon for such establishments, but it is enough
to tear out one's soul to hear them. Just before leaving Lon-
don, I called on Chevalier Neukomm, and in the course of con-
versation I asked him how he liked boys' voices on the soprano ?
" Boys' voices," replied he, " their voices are like cat's voices."
Mendelssohn disliked the shrill and screeching feature of the
English choruses in which boys' voices prevailed, and in which
810 EDINBURGH.
the alto is sung by men. I was sitting by him in Exeter Hall
during the rehearsal of a part of his St. Paul, in 1837, when he
said, " It is a pity that the English should not follow our (the
German) custom of employing female voices for both soprano
and aJto."
There is a society in Edinburgh for the " revival of church
music." It is under the principal direction of Lord Murray,
from whom an introductory note from Chev. Neukomm pro-
cured for me a cordial reception. By the way, it will be in-
teresting to many of your readers to know that the Chev. Neu-
komm, whose Oratorio of David has been so extensively sung
in Boston and elsewhere, is now residing in London with the
Prussian ambassador, who has long been his intimate friend,
and who provides him with an excellent apartment in his mag-
nificent residence. He is much troubled with his eyes, yet by
the strongest magnifying glasses, he is able to see to write.
He composes much church music, and has lately completed the
music to twenty of the Psalms (Bible version) which have been
published by the " Association for the revival of Sacred Music
in Scotland." These Psalms (anthems) have been written for
two choirs, or for a quartet and choir, so as to preserve their
original responsive character* " The Psalms," says the Chev.
Neukomm, " have been to me, during my long life, a very
gratifying subject of meditation. I have set to music most of
the Psalms, and many of them four or five times in different
languages ; in Latin, in German, in English, in Italian, in Rus-
sian, in French, and even in Hebrew, and such is the spirit
which lives in these sublime sacred poems, that the music to
the very same Psalms takes in each of these languages a pecu-
liar, but always a most high and admirable character." " For
Congregational singing," says the Chevalier, " the Metrical trans-
SCOTCH PSALMODY. 811
lation (old Scotch) may be sufficient, provided this translation
be sung to the ancient Psalm tunes, which are, in their unpre-
tending simplicity, far preferable to modem adaptations from
Haydn, Mozart, and other composers."
Psalmody is at a low ebb in the churches here. In Rev. Mr.
Guthrie's church (he is one of the most popular preachers) the
singing is led by a choir, or as it is called here, a Band (pro-
nounced Bond), consisting of about eighteen or twenty voices.
They sit together in front of the pulpit, facing the minister, and
do not rise when they sing.
St. Giles is the old cathedral church where John Knox once
preached. The building is so divided by partition walls as to
accommodate three separate congregations, who all engage in
the exercises of worship at the same time, yet without any in-
terference. In one of these the Psalm was led off by a strong
male voice, but the tune was bad, and the people did not very
generally unite. In one of the other congregations in the same
building, the precentor stood up with great dignity in his place,
having on his black surplice, but I listened in vain for his voice.
He seemed to be put up there for a show or display, since the
lead of the singing came from a powerful female voice, sitting
near him, but so as to be unobserved by the people. In the
afternoon I attended church in a distant part of the city, where
the singing was much better done, but where its general char-
acteristics were the same.
Church singing in Scotland is, I believe, universally Congre-
gational. It receives but little attention, there are but few
good bands (choirs), and consequently it is in a low state.
Almost as well might we expect the religious interests of a
congregation to flourish without a minister, as the cause of
Psalmody to prosper without a choir. Another reason for the
^^//g* ^7/f
312 HOME.
low state of church-music in Scotland, may be found in the ab-
sence of organs. Choirs and organs are both necessary, not
only to the greatest success of church-music, but also to the
best style of Congregational singing.
From hence to Liverpool to-morrow, and from thence by,
the steamer America, on the 2d April, to Boston.
THE END.